Social // Sustainable Studio 2012A collection of Industrial Design Projects, RMIT University

// Contents

Foreword by Mick Douglas

Zachary BealRebekah Crawford Creating Curiosity by Siobhan CribbinLucy FraserCharlotte HannahChris HermanPhilip PilleCharles SkenderAshley SmithEk Teck SuBryce TayluerBolaji Teniola

ZACHARY BEAL / GROWING AWARENESS

We are living in the midst of a Global Food Crisis. New sustainable infrastructure urgently needs to be designed to restructure our urban environments in order to create food abundance in the future.

It is my intention to develop and design productive, efficient and sustainable systems for growing food in our urban landscapes. I want to concentrate on producing designs which enable people to reconnect to nature though empowering them to be self reliant in growing their own food, and work at the community level to implement projects which educate and bring people together around growing healthy and nutritious food. The objects I create are designed to facilitate new connections to nature and natural processes from within the urban dwelling, looking at the home as a new frontier Ecosystem to be developed upon. These objects offer a poetic viewpoint on the interwoven mutually beneficial relationship that is evolving among plants, humans and technology.

I have chosen to focus developing my Major Project for the Open Source Community, in an attempt to freely contribute to advancing and propagating sustainable practices to the global population. Through an exploration in Open Source Urban Ecology, I wish to expose the possible impacts that additive manufacture could have in distributing access of agricultural technologies such as hydroponics to the Developing World.

Zachary Beal

// GROWING AWARENESS: Propagating the Future of Urban Agri-culture

//

//“Acquiring new knowledge was a critical initial stage in developing a successful, intellectually grounded project”

Design is a process for dealing with massively under-constrained problems, thus research acts to consolidate information and inform a project’s direction. Research provides the opportunity for the designer to systematically investigate a particular area thoroughly, becoming aware of all the actors and opportunities within that field. This leads to inspired and innovative designs during the concept stage, based on leading practices and knowledge in the given field.

Research played an integral role in my design process, and acquiring new knowledge was the critical initial stage in developing a successful, intellectually grounded project. During this investigation I undertook ‘Research into Design’, ‘Research for Design’ and ‘Research through Design’. Research into Design involved looking deeply at the theoretical aspects of Urban Agriculture by examining the literature to acquire deeper insights, a traditional form of academic research. Research for Design involved the gathering of material which was relevant to aid my design process and construct new conversations around the role of Industrial Design. Research through Design allowed my initial design experimentations and investigations to form original research outcomes, using design itself as a tool for creating new research into my given field.

During my divergent exploration I found many key areas which were directly influencing the field of Urban Agriculture. I decided to compile all relevant research into a dense document which could act as a resource booklet for anyone interested in learning about innovative developments in the field. The six areas of investigation undertaken were Sustainability: The Global Food Security Crisis; Urban Food Production; Permaculture; Hydroponic and Aquaponic Growing; Vertical Farming and Growing; and finally, Connection to Nature. Throughout these areas I used several methods to extract information, the most effective being Literature Reviews; Field Trips; Interviews; Visual Research; and Internet Research.

As my pre-Major Project developed I found the need to undertake a further research endeavour, focused specifically towards investigating the process of Aquaponics and identifying current pioneering sustainable agricultural technologies. Armed with this information I held an open event at RMIT called ‘Food Revolution Day’ to engage my peers in discussion surrounding ‘the role of design as a powerful, disruptive force in changing established behaviours surrounding what we eat and how we connect to nature in our urban environments’. I was able to visually present the information I had acquired and discuss how I was formulating a Sustainable Major Project, shedding light into my own design process for others to learn from.

My research outcomes were invaluable resources when it came to structuring a valuable Major Project Proposition, and aided the development of my concepts by offering a wide range of enlightening case studies to draw reference and guidance from.

// Exploration

Throughout my pre-Major Project I was focused on envisaging various examples of innovative propositional, participatory and provocative design which had the depth and context needed to justify an Honours Major Project Proposal. These propositions where inspired from the many varied influences that I had been exposed to though my intensive research into Urban Food Production. I endeavoured to consider both technical and social innovation projects to keep my design options open, rather than excluding areas I was less comfortable designing within. Some concepts stemmed from my interest in seeing community assets which could be designed upon to activate positive food-system change within Melbourne. One key focus of my Project Proposals was examining my own urban dwelling, imagining how I could turn it into a robust case study which demonstrated new innovative applications for Urban Agriculture. Having the ability to create multiple concepts and diverge my design thinking efficiently enabled me to create over 20 solutions, which were all hand illustrated using a Wacom tablet (digital drawing screen) to enhance the concept’s visual communication and give a direct snapshot of what outcomes the project aims to deliver.Several of the concepts illustrated within my Project Propositions were taken forward to be further developed and refined within my Major Project, establishing and contributing to the crucial foundation of ideas and concepts on which I could build, evolve and iterate.

// Project Propositions

The Carnegie School was founded in 2006 to provide a legitimate and adaptive alternative for students with social, behavioural and emotional disadvantages that marginalized them from mainstream schooling. The school was developed on the land of an ex-car-sales lot, with a new cafe and school building being built as the school facade on High Street, Kew, to promote it, and to open it up for the wider community to engage and support the school.

The school was founded on a unique forward thinking approach to education, which naturally aligned itself with the essence of sustainability. It is our calling as designers to assist these community assets in flourishing, as design has the power to guide and develop these enterprises in a positive sustainable way. I was able to establish a strong relationship with this school, which allowed me to propose and develop a sustainable urban garden project in their grounds. The aim of this was to maximise the productively of their small urban grounds to produce fresh organic food for the students and cafe, as well as teach the children about growing food, offering the students a deeper connection to nature though their studies.

This Social Research Project aimed to effect lasting tangible change at the local community level where it is needed most, as the Carnegie School is one of the least-funded schools in Victoria. This project also established an avenue for me to design as a Redirective Practitioner, challenging the traditional role of what it means to be an Industrial Designer.

// Social Research Project: The Carnegie School

The Port Phillip EcoCentre is a place where environmental solutions are hatched and nurtured. The EcoCentre is a not-for-profit, community-managed environment group that provides a base for a number of affiliate groups involved in a range of activities that promote biodiversity, environmental sustainability and community action. The EcoCentre committee welcomes anyone interested in joining EcoCentre projects and group activities and encourages suggestions for new environmental initiatives.

I submitted a Social Reseach Project proposal to the EcoCentre, establishing a relationship with this government funded body to try to work collaboratively to design and implement their first aquaponic demonstration unit, with the broader aim of enlightening and engaging the wider community around the wonders of growing food in harmony with fish. I strongly agree with the EcoCentre’s mantra of ‘Local Action, Global Future’. Establishing an Aquaponic unit would create a tangible design demonstration at the local level which could hopefully educate people on issues surrounding sustainable food production, which may in turn act as a catalyst to enable me the opportunity to undertake greater environmental and social projects targeted towards a more global audience in the future. This project inspired me to undertake a thorough investigation into Aquaponics, through which I developed an Action Plan for modifying recycled 1000-litre International Bulk Containers to create effective Aquaponic units which would fit perfectly inside a disused composting bay at the Ecocentre.

// Social Research Project:

water scarcity is becoming an ever greater concern around the world, as the disappearance of water means the end of agricultural productivity. Through this Major Project I would like to focus on water as a key resource that needs to be addressed in order to create sustaining agricultural models for the future, with the aim of designing a drought tolerant, water efficient food production system for the urban dwelling. Aquaponics is a water-relevant technology which I would like to further explore during my Major Project, as I can see strong potential in this method of growing sustainable food in the years to come.

As well as looking into the possibilities of creating drought-resistant growing systems for the outdoors, I am also interested in looking at ways to bring nature into the home itself. If a house is fully fitted with LED lighting, which has the ability to grow plants effectively, then this opens up a whole new dialogue, questioning the role of lights, and of the house itself. No longer does lighting only produce the function of light, but also the force to sustain life, and the potential to grow a household’s vegetable needs within its own walls. Examining the future applications and possibilities this technical innovation could bring could be very valuable research when it comes to redesigning new models for sustainable urban life.

I have set out to design and develop new innovative systems for growing food that have the potential to radically shift how urban dwellings connect to the garden, and to rekindle the processes of nature back into the heart of our concrete jungle. I hope to form a project that engages my local community in Melbourne, encouraging people to see urban farming and gardening as a viable and tangible way to promote and practice sustainability; growing a culture of awareness. In the broader picture, I hope for my project to have far-reaching – global – impact. If my solutions and innovations enable new affordable sustainable methods for growing food, they could be ideal for deployment in the developing world as a means to restructure the urban environment to incorporate food production at its heart. By becoming ecologically literate, humanity has the potential to apply the lessons of ecosystems, the language of nature, to develop and evolve our urban landscapes for a brighter future for all.

// Major Project

Restructuring our behaviours towards living a more integrated life which is actively connected to nature is an essential step that needs to be made in order to reconnect us with the land, ourselves and humanity’s role as stewards of the earth. As a designer I have the opportunity to propagate new ways for people to engage and interact with the powerful natural force which maintains and nourishes life. The aim of my Major Project is to educate and inspire people to become active sustainable members of their society, through becoming self-reliant in growing a proportion of their food needs.

The direction of my Major Project was formulated though combining various areas articulated in my Project Proposals, and finding ways I could integrate and incorporate multiple concepts into a range of refined design outcomes. Some of my most promising concepts focused on developing and redesigning my own urban dwelling to incorporate and facilitate nature into the home, turning my house into an efficient, dynamic and active living system which maximises its capacity to grow food in abundance for not only myself, but also my neighbours. I decided to continue developing the Gutter Growing, Toilet Grower and Community Ally-Way Garden propositions, as I felt there was enough scope in these concepts for innovation to flourish.

Maintaining a project which had the community as its prime focus was an important factor in the creation of my Major Project. I decided to concentrate on designing and developing solutions that the Open Source community could benefit from and spread, as these people are the early adopters who are most likely going to have access to the 3D Printing technology needed to spread my innovative ideas into the public domain. As the Internet is becoming one of the most powerful tools in the pursuit of activating and perpetuating the positive changes needed to restructure human behaviours for a constructive future, I see the importance of utilising this platform to reach the largest amount of people – a global audience.

We are facing a Global Food and Water Security Crisis. As Australia is the driest inhabited continent, it has been extremely susceptible to drought, which has had far reaching impacts on our agricultural security and capacity. Water is the key vital element which sustains all life on our planet and unfortunately

// Rapid Prototyping

Throughout my Major Project I placed considerable importance on creating tangible design outcomes which could have the propensity to radically alter the way people connect to nature in our dense urban landscapes. Additive Manufacture (3D Printing) has introduced a critical new enabling technology into the hands of the designer, which I have chosen to fully embrace to iterate and prototype my concepts.

Open Source collaboration via the internet has generated a progressive momentum for the advancement of access to this technology. Introduced in 2007, the RepRap was the first general-purpose self-replicating manufacturing machine to be developed for the Open Source Community. The RepRap project created an extremely cheap and freely accessible open source technology. Since it was open to modify and adapt the design, it proliferated into many commercial derivatives, such as the Makerbot. As commercial interest increased, the cost of the technology reduced significantly. This newfound accessibility has driven 3D Printing to become ubiquitous around the world, driving a new revolution in self-enabled manufacture. The recent construction of RMIT’s Advanced Manufacturing Precinct (pictured to the left) is a clear indication of the changing global shift occurring within the manufacturing industry. Long gone are the days of hand-sculpting models. Replaced by labs of computers individually connected to their own 3D printer, the future of design and manufacture is changing rapidly. While 3D printing allows consumers the ability to download and print products at the touch of a button, it also allows creative people a whole new level of freedom to design within. This technology is extremely valuable for creating 3D models which can be used to rapid prototype and iterate an idea or concept at very low cost, as well as manufacture production-quality parts in relatively small numbers. The process I undertook to Rapidly Prototype was simple. A concept was transported from a sketch, modelled into the computer using Computer Aided Design and then printed to form a physical model. This model was then tested against the criteria of usability, appearance, manufacturability, fit and function and its effectiveness evaluated. This informed the next iteration of the design, and so on until a final refined outcome had been developed, increasing the speed and efficiency of my design process.Computer Aided Design was a skillset which I targeted to explore and improve throughout my Major Project as it enables and empowers the designer to create and harness these emerging technologies. Throughout my many explorations and iterations I gained increasing confidence within the Solidworks 3D CAD design software and was able to produce a huge range of highly refined computer models, finished to a professional standard ready for manufacture.

Interest in open source technology as a means of overcoming the seemingly insurmountable global problems we face has surged in many fields. Thus I proposed to explore the possibilities that Additive Manufacture could have in distributing agricultural technologies to the Developing World which enable communities to grow healthy and nutritious food with ease and efficiency at low cost.

The first concept I developed was a 3D printed Grow Tube. These tubes lock together, with a top hopper which contains the plant and soil, and a bottom hopper which contains water. The planter is designed to allow the roots to hydroponically access the water below to efficiently grow edible produce. I have been experimenting with different ways to incorporate these tubes into the urban dwelling, as well as exploring the various other practical applications they enable. This lead to creating an aquaponic fish tank system which utilised these tubes to grow herbs within the home.

This concept evolved from a necessity to find a way of reducing the physical volume of material needed to print each individual Grow Tube. I created a set of attachments which enable small, medium or large PVC pipe to be re purposed into an efficient and effective hydroponic planter. The components sit snuggly inside the pipe, and can be siliconed in place to create a durable and watertight seal which can be removed after use so each attachment can be reused multiple times. To address sustainability considerations I investigated using bamboo as a natural pipe alternative.

// Grow Tubes // Pipe to Pot AdaptorsThis concept focused on creating planters and food directly from kitchen waste itself. This outcome enables two empty cans to be joined together to create an effective self-watering wicking pot, rather than throwing this waste product into landfill. There is a plethora of different sized cans, paint tins and metal jars which can all be upcycled utilising this method to produce herbs and plants in abundance. This concept further reduces the material volume needed to produce a fully functional planter, increasing the effectiveness and sustainable impact of each 3D printed part.

This final iteration of my design outcomes looked at creating a connecting device which encourages and facilitates the recycling of disregarded plastic bottles to be turned into a practical, desirable and sustainable self-watering planting system. Through a process of refining several iterations of the product I was able to create a range of intelligently designed connectors which fully utilise the potential of current 3D printing technology. These units can be produced at extremely low cost, and open up a diverse range of practical applications which are only limited by the imagination.

// Tin Can Connectors // Bottle Connectors

// Activating Change

of being self reliant in producing a proportion of a households food needs from within there own urban dwelling.

Activating positive community change on both the local and global level was of ample importance throughout the formulation of my Major Project. To engage my local community I decided to undertake a guerilla gardening campaign; ‘Reclaim the Curb, Grow some erb!’. This provocative design experiment was aimed at engaging the general public with my disruptive innovation, distributing my planters onto the streets of Melbourne to act as seeds to propagate my messages of a utopian food system, founded on the principles of shared abundance and sustainability. To enable my design to have a far greater, global impact I decided to freely distribute my Bottle Connector design on instructables.com (the largest online DIY community forum) with a Creative Commons licence open sourced for all to download, use and modify. This enables people from all walks of life the ability grow food sustainability and at low cost in the future.

This Growing Awareness campaign has blossomed into many new and exiting design possibilities and directions that I can continue exploring and developing in the future. I hope to continue working towards promoting sustainability in the area of Urban Food Production, seeking to further imbed permaculture principles into the community, encouraging interaction with the powerful natural force which maintains and nourishes life. The aim of my designed outcomes are focused on educating and inspiring people to become active sustainable members of their society, hopefully establishing a momentum which calls for a new culture, one which promotes care and love for the natural planet and celebrates coming together to create.

Throughout undertaking this extensive thesis project I have come to a new understanding of the role design plays in proposing and implementing tangible, sustainable solutions that have the propensity to solve the toughest problems humanity faces. These new insights into design inspired and guided my explorations into Urban Food Production, challenging me to look deeply into the social and sustainable obstacles that are inhibiting a future of global food abundance.

I unwaveringly challenged myself to invent innovate sustainable systems for growing food that might facilitate the restructuring of our urban landscapes to incorporate growing food at its heart. Throughout the creative learning process that is design, I was able to achieve my objective and create a plethora of solutions that have the potential to contribute dramatically to increasing the access and ease of growing food for urban inhabitants around the globe.

I was able to demonstrate the value of my design process by materialising a highly resolved and refined product range which successfully pushed the boundaries and capabilities of current 3D printing technology. With each rapidly prototyped iteration I was able to decrease the material impact of each design, whilst simultaneously increase the products inherent design value and intelligence. This range facilities the ability to grow food at extremely low cost with minimal maintenance required, as the planters are self watering. The design also incorporates utilising ubiquitously available waste materials like plastic bottles and tin cans, to be upcycled and diverted from the landfill waste streams.

My range of products aim to challenge and question peoples ingrained, and often stagnant notions of sustainability, drawing attention at rethinking and evaluating the importance and practicality

REBEKAH CRAWFORD / ONE STEP

Malvern East is an affluent, south-east Melbourne suburb, colloquially known as a “leafy green suburb”, yet statistics show that there is a tension between this perception and the sustainability of the area. The average greenhouse gas emissions per person per year is around 5 tonnes (or 18%) above state average (Australian Conservation Foundation 2012). One Step is a community change program intended to create ways for the local residents to discover what sustainability looks like in their suburb and to encounter steps they could take in transitioning to sustainable lifestyles and neighbourhoods. The program is based on a trail through Malvern East and a website. The One Step Sustainability Trail is a way for residents to see what sustainable living means in their local area and to join in the conversation. The accompanying website hosts stories, photos and suggestions or ideas contributed by residents, visitors, clubs, groups and business owners. Together, the trail and website can be accessed by local residents, business owners, local council, tourists and those who visit or pass through the suburb. The program is a valuable tool for the council, developers and other governing bodies as it enables them to see and engage more directly with what their constituents are thinking and doing.

Rebekah Crawford

// ONE STEP Sustainability in Malvern East

// Scenes from around Malvern East

Australian Conservation Foundation 2012, Consumption Atlas, Australian Conservation Foundation, viewed 14 March 2012, <http://202.60.88.196/consumptionatlas/>

Malvern East is an established residential and commercial area 11km south-east of the CBD, with many parks and tree lined streets. Most notably, it is the home to Chadstone Shopping Centre. The suburb boasts excellent public transport system (trains, trams, buses) and many cycling routes. There are numerous sporting and social clubs and regular community events. This area is popular with families and provides a safe environment, and excellent education opportunities. Statistics show that Malvern East is an affluent, comfortable suburb, using more resources and causing more greenhouse gas pollution than the state average. It seems that people with a high disposable income do not truly realise the impact that their actions have on the world around us. The greatest challenge for a sustainability project in this type area is that people have worked hard to build a comfortable lifestyle and may not see why they should change their habits one at a time towards sustainment.

Stonnington Council run monthly environment events, such as Spring gardening classes, and these are generally very well attended, showing that there are many people in the area who are interested in and engaged with sustainability.

The Australian Conservation Foundation developed an interactive online tool, The Consumption Atlas. ACF Consumption Atlas states that, “High average incomes and a reliance on brown coal power result in higher greenhouse pollution levels in Victoria,” which presents an accurate picture of Malvern East. This tool maps patterns of consumption and environmental impact across Australia. It illustrates how much water and land is needed, and how much greenhouse pollution is created. This eco-footprint is particularly worrying, as it is well beyond what the planet can regenerate on an annual basis, which is around 2.1 hectares (.id Population Experts 2012)

// PROFILE & GAP

greenhouse pollution

24.05tonnes/person/year

state average

19.73tonnes/person/year

water usage

910 000litres/person/year

state average

750 000litres/person/year

eco-footprint

7.03hectares/person/year

state average

6.03hectares/person/year

.id Population Experts 2012, Welcome to the City of Stonnington Community Profile, viewed 5 April 2012, <http://profile.id.com.au/stonnington/home>

The project was presented to the City of Stonnington’s Environment Officers early in the year and they expressed great interest in it, readily agreed to help however they could. During conversations with the Environment Officers they stated that this project was quite relevant for the area, as the council holds a vision of developing programs that engaging residents with sustainable living in each of the suburbs, due to each suburb being unique. Later in the year local engagement and input was sought to aid in the development of One Step. The Chadstone Girl Guides were keen to spend one of their evenings with the project. This led to a mapping workshop evening being developed to engage the girls with sustainability. The workshop looked at what sustainability is and what are some ways to be more sustainable. This workshop was a valuable tool in the development of One Step, and the girls left with greater understanding of sustainability and what steps they could take in transitioning to more sustainable lifestyles.

// STAKEHOLDERS

Premajor (first semester) resulted in a Malvern East Greenmap. The Greenmap System is a method for people to become involved with their environment, mapping green living, nature and culture. The map could be published online, printed as a folding map, a painted mural, shared on a bulletin board or in any manner that suits the intended community. Each map can inspire others to interact with their neighbourhood with a new perspective. The maps can help to promote climate change action, or overcoming disasters, such as after hurricane Katrina, a map of places that offered food in New Orleans was created (Greenmap System n.d)

The Malvern East Greenmap focused on practical sustainability in the suburb. Sites that were placed on the map included transport, green spaces, community engagement opportunities and sites that promoted reduce, reuse and recycle. The intention was that people could use the map to see what was happening in the suburb in terms sustainable lifestyles and be inspired to make some of their own steps. The map needed to become something that residents could engage with, to enable residents to take steps towards living sustainably

// GREENMAP

Greenmap System, (n.d) About Greenmap System, viewed 30 March 2012, http://www.greenmap.org/greenhouse/en/about>.

//“...practical sustainability in the suburb.”

One Step is based on the premise that participation will lead to ownership of ideas which in turn will lead to positive change. One Step is a community change program that engages local residents with sustainability as they go about their daily lives in the community. This is achieved through an urban sustainability trail throughout Malvern East and a concurrent website.

The One Step Sustainability Trail is a small but powerful approach to engaging locals with sustainability, creating a way for them to become part of the sustainability conversation and to be part of the solution. The Trail encourages sustainable action steps to be taken. The trail is made up of signs highlighting sustainable sites and the website hosts stories, photos that relate to specific sites along the trail, and suggestions or ideas contributed by residents, visitors, clubs, groups and business owners. The Trail and website can be accessed by local residents, business owners, local council, tourists and those who visit or pass through the suburb.

This system will be the responsibility of the designer, working in collaboration with the City of Stonnington. As the system is installed and gaining followers, there will be need to create a One Step team. This team will be made up of volunteers who also have an interest in seeing sustainable living be promoted in Malvern East. Together with the Council this team will maintain, service and host the system. This team has the responsibility to curate and keep the integrity of the system and content submitted.

// PROPOSITION

@

What would you change about Malvern East?

add a category/topic tag

dEsign signicon, category, fact, tipManufacturE sign

install signs

EMail subMittEr With rEsults of thEir

suggEstion

pErMission to install sign?

approach ManagEr/s

of sitEeg - council

Metrobusiness

homeownerclub

Most favouritEd suggEstions chosEn to bE

installEd

yes

suggEst a sitE

catEgory-Mobility

-consumption-community & recreation

-about Malvern East

topiceg - Water

Wasteclubs

history

sitEsuggEstions

vision for futurE

broWsE idEascomment, suggest how this

idea could be done

add your idEa

visit WEbsitE

visit signs

incites conversation.allows opinions to be

voiced.

Encourage steps towards sustainable lifestyle.

technological link to the websitetwitter feed on homepage of

website

choosE a spEcific sitEeg - phoenix park

green onions grocerpram in park

upload MEdia photo,video

visit sitE

council sees that some of the ideas are worth

implementing.

investigate more about sustainability.

find sign WhilE going about day

add coMMEnt

find WEbsitE through stonnington council

WEbsitE

confirM suggEstion fits critEria and vision

updatE sitEs, crEatE WEbpagE for nEW sitE

uploadEd to sitE suggEstion pagE

usErs votE for thEir favouritE sitE

suggEstions

Encourage steps towards sustainable lifestyle.

affirms positive action

incites conversation about sustainability.

no

affirms positive action

investigate more about sustainability - why didn’t

my idea succeed?

Each marked site promotes sustainable living. This could be an op shop, native plants, recycling bins or alternative powered street lights. The Trail is based on the information that was gleaned and curated into the Greenmap.

Sites for the Trail are broadly categorised according to Community and Recreation, Transport, Consumption. The signs are colour coordinated to create visual links between the location and the type of information. • Green - Community and Recreation includes clubs, community

houses, public toilets, parks/gardens and events. • Red - Transport is focused on the public transport system and routes,

and walking or cycling trails. • Blue - Consumption looks at sustainable water use (rain gardens,

grey water, native plants), energy use (alternative energy use, responsible or efficient use), food (local, organic, seasonal, markets).

The Trail is not limited to sites noted on the existing Greenmap; it’s designed to encourage user interaction and engagement, providing a technique for locals to join in the sustainability conversation. Users can join this conversation by responding to the signs at each site through the QR code or the Twitter hashtag. The signs invite users to upload a comment or photo of how they are using the space and interact with previous visitors comments.

The signs have been designed for easy installation to a wide variety of sites: For smooth surfaces such as shop windows, rubbish bins or walls the sign takes the form of a weather-resistant sticker that is quickly and easily applied to the surface. For other sites that don’t have existing surfaces to apply the sign, a bollard can be installed. This will be designed in collaboration with the Stonnington Council complying with their requirements. The sticker can then be applied to this surface.

// TRAIL

The Trail links to an online space where residents can see what locations are on the trail as well as the pictures and comments that people have uploaded. The website is designed to provide a variety of means to can engage with sustainability in Malvern East. When you first load the page you are shown the different categories (eg mobility) and topics (eg car, bike, train, walking) and links to other areas of the site: These are “Suggest a Site”, “Your Vision”, “Resources” and “About”. Users log in with their Facebook or Google account to submit comments or photos or ideas.

“Categories” and “Topics” is where the action happens. Each site on the Trail has it’s own page, that directly relates to the QR code printed on the sign. When someone visits a sign they can link directly to its page and see what photos or comments other users have uploaded, and can upload their own story. The category ‘About Malvern East’ shares information, history, resources usage and statistics about the suburb.

“Suggest a Site” is the space where people can browse suggested sites or make their own suggestions as to what other sites could be included on the Trail. A site suggestion must include:• their name• email• site details (address, what is the site)• reason for suggesting the site and• what category and topic does it fit under.Residents or those who regularly engage with the suburb can make suggestions via the website.

The sites are approved according to 3 key criteria.

1. The site must promote a sustainable activity or action step. For example a site suggestion of a car park would not be successful, a car park does not promote sustainable action as it encourages

excess driving. But if the sign suggested to carpool, or ride your bike, or if the car park was a Park ‘n’ Ride then the site suggestion might be successful.

2. The site must be within the Malvern East boundary, (that is bounded to the north by Wattletree Road and Gardiners Creek, to the east by Warrigal Road, to the south by the Princes Highway [Dandenong Road] and to the west by Tooronga Road). If a site sits just outside of this border then it may be considered if it meets the other requirements.

3. The site must not promote or condone illegal, dangerous or discriminatory behaviour.

When the Trail is installed and people start to engage with it there may be need to introduce more criteria to moderate suggestions. The most important thing is that sites along the Trail promote sustainable activity.

“Your Vision” is a page for making suggestions given, or ideas for the future of Malvern East; what you would like to see added, changed, improved or even taken away.

“Resources” is a page of links to sustainable living tips, facts and information, carbon or eco-footprint calculators, the City of Stonnington website and other resources that may be of interest.

“About” explains how the Trail came about, what the Trail is, who the One Step team is and what they do and how you can get involved.

Not only will this website and trail inform, educate and inspire the residents towards sustainable living it will also be of immense value to the council and developers because it will give a unique insight into what the locals are thinking.

// TRAIL WEBSITE

Mary is a elderly resident who regularly walks her dog. One day as she is walking through the neighbourhood she notices something different, there is a new blue and white on someone’s fence. Stopping to read it she finds out that there is a company that plants trees on your behalf to offset your carbon footprint. When Mary gets home she logs onto One Step Sustainability Trail and sees that the suburb is full of these signs! Mary decides to visit as many of these as possible, especially when she finds out that it only takes half an hour to walk from the northside of the suburb to the southern end. As well as aiming to see the rest of the signs, Mary makes a note to check out Greenfleet.

Sam is a student who drives to the station everyday to catch the train. As he parks his car he sees a red and white sign and pauses to read it. It says that there are over 15 bus routes in Malvern East. Sam considers that and thinks that a bus probably goes past his house to the train station. Using the QR code he links to the website page for Transport Site 16 and leaves the following comment, “Just saw this sign today and it’s got me thinking maybe I should catch the bus tomorrow instead of driving 5km.”

// SCENARIOS

Andrew, Manager of Public Spaces for the local council, helped introduce the One Step Sustainability Trail and install the signs. He receives auto updates of the comments that people are submitting. He has found it an informative channel to see how people are using the public spaces and what they want changed. Today he sees a comment by an elderly man, “I wish that more of our parks had lights in them. I like to go for evening walks but it gets dark so quickly and I don’t feel safe.” Andrew realises this is an important point and starts the process to install solar powered lighting in major public areas.

Beth works 4 days a week and on her day off she likes have coffee with her mum. On her most recent day off Beth and her mum walked through a park, and noticed a new green and white sign near the oval. Stopping to read it they find out that there are over 20 sporting clubs in Malvern East. Beth and her mum would like to know if there are any free exercise classes in Malvern East so they visit the website. Finding that there is only one currently on the sustainability trail they make the suggestion to start a Pilates class on Friday mornings in Central Park.

One Step provides a way for local residents, business owners and visitors to the area to engage with practical sustainable living. It draws attention to what is already happening for sustainability and encourages people to become involved.

One Step gives people a curated space to be part of the conversation around sustainability, enabling them to become equipped with the knowledge and tools to make their own changes. The notion of the Trail draws on the underlaying meaning of One Step - to take one step at a time towards sustainable living.

The One Step program will be presented to the City of Stonnington at the conclusion of the academic year, showing how the project has developed since the initial meeting. The One Step program will be proposed to the council as a project that has been specifically designed for the area and is ready to be implemented. The Council has the opportunity to be a leader in sustainable community involvement by offering the One Step Sustainability Trail and website - a program that is likely to be fast adopted by other councils. Through this a collaborative sustainability conversation is created.

// CONCLUSION

//“...take one step at a time towards sustainable living”

SIOBHAN CRIBBIN / CREATING CURIOSITY

A design discovery program for primary school children. Through a series of engaging activities, the project prompts students to explore the natural and designed world around them. The program curriculum, devised through action research, aims to build each child’s creative capacity and confidence. Encouraging students to cultivate self-learning strategies, by asking questions, seeking out new knowledge and constructing their own solutions. Creating Curiosity advocates a user centered design approach, which equips students with the tools and skills needed to successfully and creatively navigate the changing demands of the 21st century. By recognizing the intrinsic value of design as a learning process, the Creating Curiosity program demonstrates how design can be integrated into these contemporary and future educational scenarios.

Siobhan Cribbin

// CREATING CURIOSITY A design discovery program

//

//When I teach my students I want to show them how the kaleidoscope works. I want to show them that by altering their perspective, by looking deeper, longer, or from a different angle entirely, a whole other world can be observed. Now, I don’t want to continue holding and adjusting the viewfinder for them. The whole point is to show them how it works, and then what they choose to do with it is up to them. I’m just happy if they share with me and the rest of the class what they see…Empowering them to grasp hold of the kaleidoscope, and to embrace and explore the many different perspectives they find contained within.

Amy Palko

Creating Curiosity strives to foster the next generation of design thinkers and problem solvers. It brings designers into schools, providing students and teachers with a first hand understanding of the design methodology. An immersion workshop becomes an an occasion for students to get out from behind their school desk and be actively involved in the process of discovery. It aims to introduce them to a range of design and creative thinking strategies. Empowering both teachers and students as they embark on their design enquiry

Design, as a learning process, has the potential to play an active role in facilitating learning and enriching the classroom experience.Overall the Creating Curiosity program aims to:

// Open students’ eyes to the possibilities of incorporating design in their lives.

// Create a learning experience which is simple, honest, interactive, and tangible.

// Engage children in the experience of learning through design by facilitating their discovery of the design process.

// Create an environment where children are engaged in learning that responds to their unique ways of understanding and interpreting the world.

// Teach children to think as designers so they will be able to address the problems of the future.

// Empower students to become more proactive in their approach to learning, by fostering curiosity; questioning; communication skills; making skills; resilience; and the ability to reflect

The design process produces more than just a tangible outcome. It enables a way of thinking about the world that can be applied beyond the domain of professional practice. According to the Stanford dLab definition design thinking is, “an approach to learning that focuses on developing students’ creative confidence.” (Stanford dLab, 2008). Within Education, therefore Design has the potential to become a potential change agent......BEHAVIOUR, getting people to move, think and act differently – the ultimate learning experience.

Current modes of educational practice often treat content and method separately, while placing more emphasis on the former. To succeed in a 21st century world, however, students must be supported to master both specific content and learning methods. A hands-on design challenge can foster development of the full spectrum of transferable skills, including a bias toward action; metacognitive awareness; empathy and active problem solving. It has been observed by Deborah Parizek that “engagement with a series of progressively complex hands-on innovation projects leads students to develop deep and meaningful knowledge of the conditions of their world, a conscious understanding of their role in that world, a commitment to taking action to change that world for the better, and a significant focus on the future.“ (Parizek, 2008).

// Program Philosophy

Nussbaum, B [2012], Design Thinking Is A Failed Experiment. So What’s Next?, Co.design, viewed June 2012 , <http://www.fastcodesign.com/1663558/design-thinking-is-a-failed-experiment-so-whats-next>

Parizek, D [2009], A Design Thinking Approach to Public School, viewed May 2012, <http://www.ideo.com/work/a-design-thinking-approach-to-public-school/>

// The Difference with Design Thinking

//219 student’s took part in the Creating Curiosity program.

Their enthusiasm inspiring its continued development and potential.

219 student’s took part in the Creating Curiosity program. Their enthusiasm inspiring its continued development and potential.

This included 86 Year Six student’s who took part in an “Olympic Design Challenge “ I designed as part of the projects’ action research. Subsequently, their self directed design enquiry acted as a case study and propositional validation of my concept.

28 preps from a different school also took part in a secondary pilot program, Primarily I wanted to test whether the workshop could be simplified and still remain effective on a younger year level and a smaller class size

Finally the Creating Curiosity program was user tested across 2 test groups of Year Two student’s, a cohort of 105 student’s altogether. The workshop event (with a designer) gave student’s a full immersion and introduction into their design enquiry. Students also developed their own physical toolkit of representational objects that built upon the narrative of the “Design Discovery” and served as functional reminders of each stage of a design process.

These were predominantly paper prototypes, in order to ensure the activities were easy replicate and suitable for the classroom context. The program lesson plans are then thoroughly documented a in Facilitators Guidebook which allows the event to be easily replicated by any teacher.

The inclusion of extended activities and design enquiry suggestions means the program can be extended or flexibly delivered, as a number “lessons” over time rather than just a one off workshop.

Overall the program is intended to be undertaken within the context of a student’s larger enquiry or project, providing them with the knowledge and skills to create and communicate their designs.

//

in their head of what it looked like. When they opened their eyes, they were challenged to think of ways to communicate their design amongst themselves. The next activity required them to work together to build a stadium. Each group was given a reference image & 5 minutes to complete the task.

“5 minutes! The students exclaimed, what could we possibly use?”It was suggested that perhaps the biggest resource they had in the room was each other, “Build a stadium out of people!”

Overall the kinesthetic element of these activities was the most effective element, getting the students up and involved in creating something. Working in a team under a time constraint and the self organizing structures that evolved, was fascinating to observe. It was also the first indicator demonstrating how simulating a design process could be beneficial in developing the student’s communication skills.

“We’ve built the stadium, what’s next? The opening ceremony!”In the next event, we’re going to need some fashion designers, and graphic designers too, do you think your all up for the challenge?”

Each group then was required to invent a new country to participate in the opening ceremony. Giving it a name, designing it’s flag and national costume. Student’s were limited to using sheets of fabric with coloured ties to secure it. Even so , they creatively overcame the material limitations by folding, creasing & tying their fabric into an array of capes, dresses and head wear. Having two distinct aspects to this task, the flag and the garment, meant students within the group naturally gravitated towards the activity which appealed to them most. A simulated opening ceremony then took place, giving them an opportunity to celebrate what they had designed, and boosting the student’s creative confidence.

In the second section of the workshop the students were guided through a design process. Challenged to redesign an aspect of their classroom, they were asked to look for examples of design in their surrounding environment. A discussion on their odd shaped school desks ensued,

“Why are your desks not rectangular like normal tables?”“We can join them in different ways”, “It allows us to talk to each other easily”

As the student’s began analysing the ergonomics of their school desks they began to come up with ideas of what they would do differently. Full of ideas, they sketched their concepts and discussed them. Using an example from their immediate environment was critical to the success of this task as it helped to reinforce the prevalence of design in their world and their lives.

To end the workshop a range of design prototypes were shown in order to get the students thinking about the types of things they could create in their self directed projects. Showing rough prototypes was important as it demonstrated the importance of refinement through making.

I was surprised at the level of sophistication of the discussion, during the final question and answer session, particularly by the student question, “as a designer what is the work you are most proud of?” From this I was able to elucidate that I was most proud of a project were I had been able to use my design skills to create positive social change. This illustrated that the role of the designer was fundamentally about helping others and improving people’s lives.

We were then able to collectively come to the conclusion that Design is not just a specific task, but is a way of thinking. Thus it is possible to apply design thinking to fields outside of design professional practice.

In order to understand how design processes help students learn, I undertook action research, with the creation and implementation of a Design Development workshop for the year 6 cohort at St Christopher’s primary. This allowed me to test my proposition regarding Design’s potential role in contemporary educational spaces in a real world context.

84 children took part in this Olympic themed design challenge before undertaking their own self directed projects. Empowered by their new role as Designers, the Year 6’s came up with a diverse set of creative projects; ranging from lighting design to furniture concepts, fashion garments, architectural models & interior design. Tracking the student’s progress across the course of their enquiry allowed me to tangibly measure the positive impact Design was having on the their learning. The workshop’s role in empowering and supporting the teaching staff was also evident, as it gave them confidence in implementing design strategies in their classroom.

The workshop was centred around the key question “Why do people design, create and innovate?” A guided questioning tactic was used at the start of the session to establish prior knowledge. The key discussion point of this initial conversation was, “everything around you is designed by someone somewhere. ” This prompted the students to consider who? and why? as they were introduced to a few different areas of creative practice; Architecture, Engineering, Fashion, Industrial Design, Interior Design, Advertising and Graphic Design

It is important to encourage students to let their imaginations run wild with new exciting ideas rather than imagining something they had seen before. The initial visioning exercise was an effective way of getting the children to focus on the design problem & creating an atmosphere of concentration. Students were asked to close their eyes & imagine themselves as Architects about to design a stadium, building an image

// Action Research

//We were then able to collectively come to the conclusion that Design is not just a specific task, but is a way of thinking.

Thus it is possible to apply design thinking to fields outside of design professional practice

As a designer I think the unique skills I brought to the design of the workshop were an ability to use visuals and objects to tell a story, as well as an ability to structure & choreograph the flow of students (systems thinking) I also became aware of the effectiveness of Kinaesthetic play and how engagement with materials often leads to problem solving. The medium is often irrelevant, students just need to be given the opportunity, space and time to create.

The full value of the workshop did not become apparent until after I continued to track the student’s progress through their own self directed design projects. The influence of the workshop was confirmed, in the way it had inspired the students to explore aspects of Industrial Design, Fashion, Interior Design & Architecture. The range and originality of the outcomes were impressive.

Almost every child I interviewed mentioned that making their ideas real was the most difficult aspect of the design process, but also the most rewarding. They had now experienced first hand the Designer’s struggle for refinement but they had also learnt other transferable skills.

As the St Christopher’s Primary principal noted, they had “developed a resourcefulness.” None more so than the student who downloaded a CAD program (Maya) and taught himself how to use it to create a computer generated model of his chair design! His teacher, who was very proud of this particular achievement, also noted a change in the self confidence of the student. “He has very low self confidence, this project has allowed him to grow and excel.” All the student’s were visibly proud of their work, the workshop had succeeded in not only developing the student’s knowledge in the field of Design but also nurturing their creative confidence.

// Key Insights

//The workshop had been successful in not only developing the student’s knowledge in the field of the Design but also nurturing the their creative confidence.

Whie I do not believe all the prep students understood the correlation between the activities, as a “design process,” I still think the activities undertaken had inherant value for them. The act of making and drawing, in themselves, proved particularly beneficial with a strong precence of imagination present in all the designs they came up with. Overall even getting the word Design into the vocabulary of this age group is beneficial, and the pilot helped me to further refine the program before undergoing user testing.

Whilst the research I conducted with the Year 6 cohort proved extremely successful I was interested to see if I could get similar results at another school. After developing the Creating Curiosity program I ran a pilot version with a class of 28 Prep students from OLN Primary. I wanted to test how a design process could be run with this younger audience, as well as seeing how a smaller class size might effect my method of content delivery. Working with this age group really forced me to simplify and clarify the message of the workshop and the steps of the design process.

The workshop was framed as a Design Discovery, with the students becoming “detectives’ to solve the clues and discover all the steps in a design process. It was also linked to their topic of enquiry this term which was “Designing Toys.” With the assitance of their year Six buddies the Prep’s will be creating toys using recycled materials. The workshops function therefore was to get them thinking about their design before jumping into the project.

// Pilot Program

Materiel props used in the workshop included 3 oclour coded textile mats and origami boxes that fold out in an unusual way and were used to house activity materials. A collection of assorted prototypes were also used as demonstration tools. For the user test the student’s topic of enquiry was “toy’s with motion” so I brought along a puppet and a collection of Teck’s prototypes.

Students also developed their own physical toolkit of representational objects that built upon the narrative of the workshop and served as functional reminders of each stage of a design process.

Artefact 1: Magnifying glassA magnifying glass is hidden in each origami box and was used as a symbolic clue in the student’s first task.

Artefact 2: KaleidoscopeStudent’s make their own Kaleidoscope in the first activity. A reminder that during their design process they must try and see things in a different way. Helping to get them to “look” at things differently

Artefact 3: KalideocycleThe kalideocycle object aims to represent the design process in a 3 dimensional form, including the steps: look, think, sketch, make. The unique movement of the artefact which is able to turn continually in on itself serves as a reminder of the iterative nature of the design process. It is not linear, and involves reflection and continued refinement.

Artefact 4: ChatterboxThe “chatterbox” origami fold toy contains questions that help prompt and guide students if they ever get “stuck” in their design projects.

The Low fidelity prototype includes program documentation and activity plans which allow the event to be easily replicated by any teacher. The inclusion of extended activities and design enquiry suggestions means the program can be extended or alternatively delivered, as a number “lessons” over time rather than a one off workshop. All material for this aspect of the program is contained in the Facilitators Guide and student sketchbook.

// Workshop Artefacts

creating connections // creating capacity // creating curiosity

LUCY FRASER / MAGNETISE

Magnetise allows career changers to begin with a website, browse resources and grow their network, chat with contacts and develop relationships to help boost their career.

It focuses on a high profile topic; the changing international workforce. The economy is less reliable and the types of work in demand are evolving, leaving many workers to go through change by choice or force. Magnetise aims to connect them with each other and with time-poor professionals who want to grow their industry.

Lucy Fraser

// MAGNETISE A service system that encourages resilience to career change through community support.

//

WorkPlay

Share

Travel

Swap

Laugh

Mentor

Work

Give Recieve

Love

Play

Teach

Learn

Work 2.0

The rest of your life

Job

Work 1.0

Australian industry is experiencing drastic changes that are altering the way we work and live. The decline of manufacturing has been significant as Asian manufacturing continues to be more advanced and consumer attitudes become more eco-aware and e-focussed. Car manufacturers Ford and Toyota along with Caltex, Qantas and Fairfax have all had significant job cuts in 2012. This has led to fluctuating unemployment and a decline in full time employment in Australia. With more people working part time jobs, flexibility is an increasingly valued skill.

Employees themselves are also demanding a greater variety in work, with an expectation of continuously learning and growing on the job. Technology, globalisation and a changing economy mean our work-lives are merging with our home-lives. We expect our jobs to be fulfilling and a labour of love, not just a means to an end. The future of the workplace in Australia could therefore be more highly specialised and more fractured, where you work for and with your friends and do something different every day.

// THE CHANGING NATURE OF WORK

^ Alberici, E. 2012. Australia must compete on skills, value: Wong [On-line]. Australian Broadcasting Corporation. Available: http://www.abc.net.au/lateline/content/2012/s3578083.htm [Accessed 2012-08-30].< 2005. ‘You’ve got to find what you love,’ Jobs says [Online]. Stanford University News. Available: http://news.stanford.edu/news/2005/june15/jobs-061505.html [Accessed 2012-08-12].

//Australia can’t compete on cost and we shouldn’t try. What we can compete on is being highly flexible, highly adaptable (and) highly skilled.

Penny Wong, Australian Minister for Finance and

Deregulation, 2012

Your work is going to fill a large part of your life, and the only way to be truly satisfied is to do what you believe is great work. And the only way to do great work is to love what you do.

Steve Jobs, founder of Apple Computers, 2005

Instead of putting time and funds into job retention and unemployment assistance (the current approach) an emphasis on greater resilience to workplace change could lead to a less fearful, more satisfied workforce.

Magnetise is an exploration of this alternative. It is a resource and community network both on-line and off-line that allows users to prepare for career change in a way that puts them in control, helps them feel prepared and is enjoyable. The Magnetise service system enables users to dip their toes into alternative professions- as a taste test for a change of profession, or just to satisfy a curiosity.

// MAGNETISE FULFILS A NEED

Social Innovation

Industrial Design

Enterprise

Social Enterprise

Socially Sustainable

Design

Design Firms

A Good

Approach

The Magnetise project derives from a previous study of three overlapping schools of thought that are attracting increasing attention worldwide- Design Thinking, Social Innovation and Enterprise. A variety of prominent multidisciplinary professionals, including Tim Brown, Emily Pilloton, Nic Frances and Anil Gupta, have used tools from these schools of thought to develop their practice. Applying this combination of techniques and attitudes to the bigger problems we are facing today, such as homelessness and hunger, has been found to produce more insightful, self-sustaining and successful solutions than any one approach alone.

After researching this burgeoning field, it was discovered that all three schools adopt common approaches applied in that are iterative, multidisciplinary and human-centred. Magnetise was developed with these approaches.

// APPROACH

Magnetise was the final concept in a long line of social innovation schemes. The initial topic of unemployment suggested an almost infinite number of design possibilities. Each iteration of the project clarified the framing of the topic and what changes were desired. Each cycle of the design process involved testing and feedback, until the final format of Magnetise was arrive at- to make working-men and women more resilient to workforce change. Once the Magnetise concept was decided upon, further iterations resulted in greater focus on the essence of resilience in a relevant and engaging way.

// ITERATIVE APPROACH

> TACSI. 2011. Radical Redesign: Family by Family. Available: http://www.tacsi.org.au/assets/Projects/Redesign-Social-Services-2010/rrssfbyfs-mall2.pdf [Accessed 10th May 2012].

The opinions and advice of a range of experts, from service designers through to website engineers and founders of shoestring start-ups were applied to the project. This diverse collection of influences enabled an understanding of the many layers involved when designing and launching a public community network and helped to overcome some of the challenges, something that one individual’s experience and skill set would have found impossible.

// MULTIDISCIPLINARY APPROACHBy focussing on people’s actions and stories, designers can gain insight hat allows the proposed solution to connect with the user the Magnetise concept was sparked by a personal experience of the author, quoted on the right. This inspiration led to a focus on community and support.

Investigating how people deal with changing careers and how they found work was very important to the process and was very hands on. External opinions were sought throughout the design development stage, providing inspiration, user testing and personal stories. The voices of young professionals, students, retirees, mothers and professors all feature in this project- as words on these pages, but also seeping into the design concept itself.

// HUMAN-CENTRED APPROACH AND STORYTELLING

//I was thinking of how to present my project book and had been telling my mother about it. A few days later she called back and explained that my brother regularly attends a hackerspace where a laser cut company works to make and sell bamboo book covers. Within three connections, I had been introduced to somebody new, who could help me out with my project and whom I could provide with business.

Lucy Fraser

//Interviews with people in varying stages of their careers showed that no two career changes are the same.

//Magnetise connects people with four degrees of separation. Within this large network, you have a great chance of finding someone that reflects your gives and gets.

Magnetise is about support, community and skill sharing. For a person going into a new career, Magnetise helps find experience or mentorship in a new industry by introducing them to a professional in their chosen field. For a time-poor industry professional, Magnetise links them to people keen to learn about from their expertise.

Magnetise thus caters directly to two distinct groups- the career man or woman looking for a career change, and the time-poor industry expert who wants to nurture his or her field. The network can also work for a broader audience- anyone who wants to develop a new skill or enter a new community. By trading time for skills and experience, each participant benefits from the interaction and new relationships are forged.

// MAGNETISE DESIGN PROPOSAL

Magnetise is an online network that can be found at www.magnetise.net.au. When a client logs into Magnetise, they can create their own profile as well as profiles for their family and friends. You log in with your email address and create a password, then build your profile. This includes your name, your ‘gives’ and your ‘gets’. Your gives are what you have to offer the community and your gets are what you are looking for from the community, such as sewing skills, laboratory experience, time, financial advice.

Profiles

As well as developing your own profile, you can add profiles of your immediate family, friends and colleagues- if they are not yet on the network- by providing a description of their gives and gets. They can claim their profile if and when they sign up. The website branches from your profile to all your immediate contacts, onto their contacts and so on. Each user is able to see four degrees of contacts, i.e. a friends, friends, friends contacts.

Private Messaging

Each user is able to privately message their immediate contacts, with the ultimate purpose of requesting introductions to their contacts.

Introductions

If your immediate friend agrees, they can invite their contact to be introduced to you, and the new contact will move into your immediate contact list and you be able to message them directly.

// ONLINE COMMUNITY

When you find someone in your network that matches your gives and gets, the next step is to meet up with them. Whether this is catching up with an old friend, or meeting somebody new, it is important that each person understands what the other can offer and what suits them. Building this understanding and trust will be important should you be working and spending time together in the future. Users are supported through this step with a contract that clearly defines what is offered and expected, and signed by each.

// OFFLINE RELATIONSHIPS

This kind of reciprocal mentorship has been proved successful in many formats, from schools to the national organisations. The relationship works well when kept informal and with minimal structure.

It is easy to find information about support for unemployment and job-hunting, but it is a challenge to find support for retrenchment or planning a career change. Many companies offer an orientation session when going into a new job, but they don’t realise that the changes occurring when leaving a job are just as significant. From finding career advice to dealing with an unexpected end to a long-term job, Magnetise provides directions to hard-to-find resources that can help you through a career change.

// RESOURCE

Magnetise makes it easier to be highly flexible and adaptable in your career, leaving you a more employable worker with a greater resilience to any career crisis. The network also helps you strengthen both your immediate and extended community, leading to greater stability in the work and home space.

This means future workers will be able to work in a variety of fields with a problem solving, empathetic perspective, and the ability to deal with the unexpected.

// IMPLICATIONS

CHARLOTTE HANNAH / FAIRSHARE

Unworn fashion represents an annual waste of $1.7 billion in Australia. Fairshare has been developed to enable garment sharing in order to give a new lease of life to unworn garments and reduce the environmental and financial burden of fashion. Building on the age-old concept of friendship, Fairshare has developed an online peer-to-peer garment sharing network and mobile app. It provides members with the wardrobe they desire without the cost of conventional retail shopping and inspires sustainability in fashion.

// Fairshare Visualsing a sustainable fashion system

Charlotte Hannah//

// THE PRESENT SYSTEM

/ Fast Fashion In recent years, fashion has become faster and cheaper. Black (2008, p.11) notes that “Global communications and marketing, together with increased competition and the growth of offshore manufacturing (in es-sence globalisation) has fuelled demand for higher consumer expec-tations”. Mass manufacture and distribution has driven increased ef-ficiency. These factors, combined with increased buying power have seen growth in the fashion industry increase and spread globally – a phenomenon termed fast fashion. The aim of fast fashion is to bring style to the modern consumer quickly, and to generate high profit. Fast fashion has also contributed to clothing prices depreciating with respect to income (Black 2008, p.14), allowing consumers to purchase greater volumes of goods. This often causes consumers to “buy in binges rather than making more discerning purchasing decisions” (Pears 2006, p.8), resulting in increased fashion waste as consumers turn away from in-vestment pieces, opting instead for a cheap ‘fashion fix’.

/ Value Fashion The fast fashion cycle has led to the introduction of value fashion (Black 2008). Value fashion refers to non-clothing-based stores (primarily su-permarket chains) providing low cost fashion. Value fashion has further fuelled fashion consumption, due to highly competitive pricing. A recent example is the introduction by Coles supermarkets of Mix, a garment range with prices starting at $4. This combined accessibility and low cost is fuelling consumption globally.

EARNS $61,053PER YEAR

AND HAS $4757 OF CREDIT CARD DEBT

IS SPENT ON CLOTHING

$1951 1.7

YET ONLY 20% IS WORN 80% OF THE TIME

LEAVING $1560.80 LEFT HOARDED INSIDE THEIR

WARDROBE

THIS GROWS TO $7800 OVER 5 YEARS

CONTRIBUTING TO $1.7 BILLION OF

FASHION WASTE IN AUSTRALIA

ANUALLY

/ The Financial Impact Despite rising income levels, consumers are living beyond their means, falling into a cycle of credit and debt. The average debt per cardholder in Australia is $4757 (Elsworth 2012). Credit allows the consumer the opportunity to “enjoy the experience of owning goods ahead of time” (Pears 2006, p.36), despite their financial situation. Yet women are more likely to purchase items on credit regardless of having available funds (Pentecost 2009). Like a drug, the present fashion system fuels the cycle of credit and debt often driving consumers to self-medicate by acquiring more goods, providing short-term gratification and distrac-tion from consumer regret (Pears 2006, p.36). Unfortunately, this cycle continues when regret returns after each ‘medicated transaction’. Fast fashion has resulted in an inability for guilt-ridden consumers to satisfy their desires, leading to an unrelenting but futile search to fill the void. / The Environmental Impact The fashion system places great strain on global resources and the en-vironment. Currently, 20 per cent of the world’s population uses approxi-mately 83% of the world resources (Fraud-Luke 2009, p.56), and to date have consumed more than half of the globe’s known oil supplies. This ‘energy descent’ (Fraud-Luke 2009, p.61) requires that we transition to a post-peak-oil economy. Pears observes that “If present growth trends continue unchanged, the limits to growth on this planet will be reached sometime in the next 100 years” (2006, p.28). It is therefore vital that we collectively consider how a world without oil would look, and investigate alternative methods of production and consumption. Despite present salvage efforts, the majority of clothing is still discarded in landfill. UK statistics reveal that almost three-quarters of textile prod-uct ends up in landfill after being used, and this is mirrored in many other western countries (Fletcher 2012, p.63). To reduce the financial and environmental burden this represents, our method of consumption must shift.

// ALTERNATIVE MODELS

Co-operative consumerism is a consumption model with great poten-tial to increase sustainability. Its origins can be traced to a widespread movement against the commercialisation and expense of modern hos-pitality. The foundational tenet of the co-operative approach is a desire to shift market power away from the corporations and back to the people, offering consumers a “richer, more fulfilled social existence, a chance for working people to build a better world” (Fletcher 2012, p.136). The co-operative approach is “changing the ways in which products are organised, distributed and used” (Fletcher, p.102), whilst offering the prospect of reducing the amount of materials we consume and still meeting people’s needs. Co-operative consumerism has real potential to initiate a transformation from individual to group ownership, by fulfill-ing the “utility the product offers rather than the object itself” (Fletcher, p.102). Current examples of co-operative consumption in Melbourne include The Pantry, a food co-operative supermarket; Airbnb, a co-op-erative accommodation community; and the Sharehood, a Melbourne community sharing program.

/ E-commerce Australians have embraced online shopping. 59 percent of Australian adults purchased goods or services online in the 6 months following November 2010, compared to 53 per cent in the six months to No-vember 2009 (ACMA 2011). This rise can be partially attributed to an increase in access to the internet through smart phones and tablet de-vices, with 3.9 million people aged 14 years and over going online via their mobile in June 2011 alone (ACMA 2011). The convenience and price benefits of online shopping have led many consumers to become disaffected with the traditional bricks-and-mortar retail experience (Sta-tistics in Online Shopping in Australia 2012). Surprisingly, the majority of online transactions conducted within Australia are from Australian-based businesses, although the proportion of online shoppers access-ing overseas sites is steadily increasing, primarily due to the strong Australian dollar (ACMA 2011). Fairshare hopes to be relevant to the present retail ecosystem by providing an online platform that will allow customers greater convenience whilst avoiding the overheads that tra-ditional retail outlets face.

/ Co-operative Consumerism

In our common everyday needs the greatest industries of the world take their rise. We – the mass of common men and women in all countries – also compose the worlds market. To sell to us is the ultimate aim of the world’s business. Hence it is ourselves as consumers who stand in a central relation to all the economies of the world, like the king in his kingdom. As producers we go unto a particular factory, farm or mine, but as consumers we are set by nature thus to give leadership, aim and purpose to the whole economic world. That we are not kings, but serfs to the mass, is due to our failure to think and act together as consum-ers and so to realise our true position and power (Harrison 2005, p.41).

/ ASOS Originally operating under the name As Seen On Screen, ASOS is now a global leader in online fashion. Nick Robertson founded As Seen On Screen in the year 2000, with the aim of bringing celebrity style and culture to the mass market. The original concept was born in response to a shift in fashion culture, where the importance of celebrity fashion flourished. Robertson created a commercial space around society’s fascination with celebrities and the fashion they wear. With a primary audience of “fashion forward 16-34 year olds who are better looking than average, with Saturday night as her biggest night of the week” (Robertson 2012) ASOS.com entices over 11 million unique visitors a month (Hopper 2012). ASOS is the largest clothing retailer of its kind. Cursory observation may suggest that ASOS is merely an online store, however this is a limited view. ASOS has evolved into a complex fash-ion system, comprising a series of key ‘actors’, all operating concur-rently to constitute the ASOS fashion system. Through my investigation into ASOS it became clear that its success is due to the holistic ap-proach it encompasses. This has influenced Fairshare to expand be-yond a purely e-commerce platform into a fashion system of its own.

// INITIAL EXPLORATIONS

//fashion forward 16-34 year olds who are 23, better looking than average, with Satur-day night as her big-gest night of the week (Guardian 2012)”

/ The New consumer I visited the New Consumer fashion industry forum as part of the L’Oreal Melbourne Fashion festival to gain an up to date insight into the mod-ern fashion consumer. There were a number of key speakers each of whom had differing views on the notion of the new consumer. Key points include: Consumers are moving digital at a greater pace than ever before. Currently 19% of adults have a tablet device; projections indicate that this figure will be 30% by year’s end; Consumers are well researched. Women are shopping like men - they do their research be-fore they even enter a store to purchase; There is presently too much choice. Consumers ‘edit’ their choice themselves – for example, Pinter-est is social media ‘editing’ whereby the consumer sees what their net-work thinks before making a purchase - but they also want the retailer to further ‘edit’ down the selection for them; Australians are saving more, and they are making only considered purchases The present type of consumption has not made consumers happy. There is the financial burden of keeping up with the trends, as well as a level of guilt about where clothes are coming from; Sustainability doesn’t market well, and the more you understand about sustainability, the less you buy green.

/ Camberwell Market I operated a stall at the Camberwell Market during May 2012 to assess the viability of selling unwanted clothing. I wanted to determine whether people would engage or resist a sharing platform, based on the feasibil-ity of selling pre-loved clothing for a profit. Camberwell Market is argu-ably Melbourne’s best second-hand fashion and vintage market. The process of obtaining a stall was much more difficult than expected, and the financial result of the exercise was highly disappointing. The man-ager explained that there are approximately 50,000 registered users of Camberwell Market and it was becoming harder for members to obtain a stall. This alone suggested to me that the Melbourne community is in need of an alternate channel to sell and share second-hand clothing, as many existing markets have outgrown their physical capacity. / Facebook Clothes Sharing I developed a Facebook group to facilitate an early mock up of the Fair-share model. The primary aim was to generate feedback to guide the development of the service. This was a valuable activity, and a number of key development areas were identified. One fundamental task was item distribution. From this feedback, a new model of distribution was developed where Fairshare could operate without itself facilitating dis-tribution and stock management. This group also highlighted that there was clear support for a service like Fairshare. Many people offered goods to be swapped, and interest in garment sharing was also high.

The process of developing the Fairshare app has been highly iterative, with continual evolution provided through the influence of peers, men-tors and the strong enterprise focus I have placed on my project. Fair-share was first envisioned as a ‘clothing library’, where Fairshare owned all garments and charged a membership fee to become a member of the community. Fairshare then expanded to incorporate the online domain, opening up greater opportunities to share garments. Initially allowing sharing with anybody, Fairshare was scaled down to facilitate the sharing of garments between friends. From here, an entire commu-nity has been built around the Fairshare app, allowing for a fully inclu-sive and engaging service to be built upon the foundation of friendship.

/ iOS Human Interface Guidelines Apple has provided app developers with clear Human Interface Guide-lines (HIG) to ensure all apps are designed with exemplary user inter-faces, as well as providing uniformity across all apps available in the App Store. After initially developing my own concept sketches of the Fairshare app, I have now employed the Human Interface Guidelines to achieve a superior result. From a development perspective the ad-vantage of using the HIG is that coding the app will be a much more cost-and-time-efficient process with higher quality results. Some key learning’s influencing my app development were: Some key learning’s influencing my application development were; It is crucial to decide precisely which features you intend to deliver, and to whom; To deliver a sense of uniqueness within the HIG, all apps need at least some cus-tom artwork; Keep content to a minimum. The interface should speak for itself; Apps respond to gestures, not clicks.

// APP DEVELOPMENT

/ Road-testing I have also road tested a series of fashion apps to gain a clearer under-standing of current apps features, style and interface. The results are summarized below. Net-A-PorterNet-A-Porter was the app I most preferred. The iPad and iPhone ver-sions are an absolute delight to use, and employ all recommendations from the Human Interface Guidelines whilst still remaining unique. My favourite feature of this app was the ‘What’s New’ feature, which show-cases a never-ending stream of newly added clothes. A further high-light was the Live Feed, which showcases live interactions. ASOSA little less aesthetically pleasing, the ASOS app is very category-heavy. This is required by the large collection of clothing that needs to be categorised efficiently, but it makes browsing rigid. ‘Trend Edits’ and ‘New In’ have been employed to offer a less search-orientated shop-ping experience. eBayThe eBay app is not visually appealing, and left me feeling frustrated even before I had begun browsing due to the tedious log in process. Furthermore, the look and feel is not one that appeals to the female market segment, due to the heavy information focus and obsolete graphics.

/ It’s social Online shopping is a highly private activity. Fairshare aims to reclaim the social nature of shopping, and create a highly interactive and social environment. Fairshare’s social nature has been achieved through Fa-cebook connectivity, the app’s structure and available features. The My Friends tab allows members to invite and add friends to their sharing network. Friends form the basis of a member’s sharing community, and a user can have as few or as many friends as they wish. Members can expand their sharing circles by creating or requesting to join groups. Groups can be as small as a friendship circle, or as large as a univer-sity cohort. Recommended groups include place of education or work, location-based and interest groups. / It’s affordable Fairshare allows members to build an almost infinite wardrobe at no cost. When a member joins they need to upload a minimum of five garments, however they may upload as many as they wish. Members then ‘like’ and add their friends’ garments to their own virtual wardrobe. Once a garment has been added, the member can then request to borrow it by directly contacting their friend. The transfer of garments has been designed to reflect affordability and ease. Garment swap-ping is easily facilitated at a location common to both parties, such as a school, university, or workplace; alternately, a convenient public loca-tion such as a café can be used. If none of these options are suitable, a flat-rate courier service has been commissioned. Fairshare also sup-ports members by providing an integrated budget tool, and a cost-per-wear and discount calculator. A buy and sell feature is also available where members can trade and sell garments permanently.

/ It’s safe Fairshare places safety and security at the heart of the system. This has been built from Fairshare’s friendship-based foundation. To ensure the security of garments, Fairshare recommends sharing only with direct friends or with members recommended by friends. To ensure a sharing standard is maintained, a star rating system has been developed. At the conclusion of a share, both parties rate the transaction, allowing members to build a reputation. This ensures members who continually engage with Fairshare in a positive manner are recognized, and can be protected from those who do not. The star rating system guidelines are:

/ It’s supportive The Fashion Share Network (FSN) runs alongside Fairshare and fa-cilitates connectivity with the general fashion and sustainable fashion communities. The FSN features a blog, events calendar, clothes care information and a sustainable fashion directory.

// FAIRSHARE

/ It’s commercially viable Throughout the development process Fairshare’s commercial viability has been rigorously tested, involving input from multiple sources in-cluding SEEDS, the RMIT Business Plan and market segment groups. Three revenue streams have been identified as a result of this process. These include the Fairshare app, which has been made available in both a premium and freeware version allowing for maximum accessibil-ity: Fairshare Premium: Fairshare Premium retails for $6.95, the cost of a fashion magazine. The advantage of purchasing the Fairshare Pre-mium is that there is no in app advertising. Fairshare Freeware: Fairshare Freeware allows members to trial a free version of the Fairshare app. The freeware app is made possible by advertising displayed within the app. Advertising will be sold only to the Australian Fashion industry to directly support Australian fashion. Fairshare will take a 15% cut from the cost of network wide transactions in the Fairshare marketplace.

// FAIRSHARE

From the inception of this project, I have envisaged creating an enter-prise. Early in the project’s development, I applied for and was suc-cessful in being awarded an RMIT ‘Social and Environmental Enter-prise Developments’ (SEEDs) fellowship to aid in the development of Fairshare. The SEEDs fellowship program has provided me with start-up capital, mentoring, intensive workshops and the opportunity to be a part of a growing social entrepreneurial community. This unique program has paid particular attention to nurturing my projects from initial concepts to a sustainable business venture. I am a finalist in the SEEDs Investment Fund where a prize pool of $60,000 is available to launch selected start-ups with the hope that such investment could fund the further development of the app. This process has been particularly valuable to developing Fairshare, as it takes a holistic approach to social entrepreneurship, encouraging me to consider all aspects of an enterprise venture.

// THE FUTURE OF FAIRSHARE // REFERENCE LIST

ACMA 2011, Let’s go shopping online 2011, viewed 5th May 2012, <http://engage.acma.gov.au/commsreport/e-commerce/>

Black S 2008, ECO Chic the fashion paradox, Black Dog Publishing, London. Elsworth, S 2012, Average Australian credit cardholder owes $4757, viewed 6th May 2012, <http://www.news.com.au/money/banking/debt-cut-in-best-interests/story-e6frfmcr-1226290061897>

Fletcher K 2012, Fashion & Sustainability, Laurence King, London. Fraud-Luke, A 2009, Design Activism, Earthscan, London. Harrison R et. al, 2005, The Ethical Consumer, Sage Publishing Ltd, London. Hopper, F 2012, ASOS.com adds personal recommendation to the mix, Viewed 9th August 2012,<http://www.fredhopper.com/news-room/asos-com-adds-personal-recommenda-tion-to-the-mix>

Pears K, 2006, ‘Fashion Re-consumption, PhD thesis, RMIT University, Melbourne. Pentecost, R et. Al 2009, Fashion retailing and the bottom line, Viewed 5th June, <http://eprints.qut.edu.au/29915/1/29915.pdf>

Robertson, N 2012, Top 100, viewed 5th May 2012,<http://www.guardian.co.uk/media/2012/sep/16/nick-robertson-mediaguardi-an-100-2012> Statistics in Online Shopping in Australia 2012, viewed 7th May 2012, <http://intern-etretailing.com.au/statistics-online-shopping-in-australia.html 9/5>

CHRIS HERMAN / CUP

As designers we are the custodians of cultural artifacts. This is the basis of my exploration of design practice and thinking through making and critique to reveal the value of a social object. The project aims to privilege elements of the slow design manifesto in order to produce a vessel object that provokes a discussion around sustainable consumption. The focus of this exploration and making process is the synthesis of object form and the objects’ proposition for social value in the absence of surface treatment and ornamentation, so as to highlight dependence and affordance of the objects’ utility. In this way, emphasis has been placed on both the objects’ economic value and the value of the resulting experience when in use. The process is ultimately the embodied artifacts within my project; similarly the final refined artifact is the embodiment of my process.

Christopher Herman

// CUP: A propositional artifact as an embodi ment of sustainable Weltanschauung.

//

//Social value proposi-tions, Economic Value, Object Value, Experi-ence Value, Function sets.

The Cup Project is about the critique of made objects and their value propositions, focusing on how we as users relate to that value through form.For this single semester major project, I have chosen a ceramic vessel object and want to look at the emotional durability of that archetype. I have done this by utilizing slow design principles to provoke a sustain-able and propositional rhetoric or discussion around the longevity of and relationships that we have with these vessels in both an aesthetic and material based context.I have framed my practice around making as the tool for learning and critique. I am interested in the dependence on the objects utility as a facilitatorto the product and user relationship. The intervention I wish to make in this existing system of use is to create an object that can define and affect the existing context suggest a new way for cultural production; in particular the social and status functions of an object rather than the utilitarian properties.In terms of exploration parameters, I have restrained to making in purelyCeramic and porcelain, restricting time limits and disregarding surface treatment or ornamental elements of the product. The rationale being that the evolution process would be more easily observed if done by hand and in the same way repeatedly.

// PROJECT INTRODUCTION

The question for me was ‘How do you create longevity, value and arelationship with an object in order to impart a bond or translate a mes-sage through it?’. This is the question that I have been using to oscillate back and forward between process and critique. I had spoken to a pot-ter who chastised me for wanting to clear glaze my body of exploratory vessels because he felt that as I had made them by hand, clear glazing would only reduce my crafted vessels to a likeness of the tonnes of slip cast tableware for the masses, he was upset that I was removing the value of my energy and life from the object that had been intrinsically inserted by me physically making it. It became clear that I needed the user to visually identify with the origins of the object, without this value adding aura I risked the user only ever perceiving it as a commodity-type item, of low value and short lifespan- a victim of fashion and trend. It was my full intention to create a convex based vessel that the user must assist (until the contents are consumed) as the central axis for this exploration. It was never intended to gravitate around convenience or useability, rather as a nod towards the etiquette of responsible and ethical consumption. This part of the exploration has been quite seren-dipitous. It’s interesting that the parallel value on resource and respect-ful consumption is not a modern one. I like this idea of spotlighting an individual’s very own immediate consumption as the amphora did way long ago in history because that is the kind of sentiment that this experi-mentation has been about.

Weltanschauung: Worldview, world image, world wide outlook (Ger-man).A worldview that describes a consistent (to some degree) and integral sense of being and provides a framework for generating, sustaining and applying values in everyday and projected experiences.

When embarking on the explorative path my initial intention was to ana-lyse how the form of a vessel object- in this case a tea cup- could influ-

ence behaviour and create a link to the consumer beyond that of simply a fashionable object. This was to be achieved by the use of hand thrown ceramic in order to create a beautifully hand crafted object that human labour had been intrinsically solidified in to the making and outcomes of the piece. Hence ceramic was chosen as the medium to represent this message. The selection of medium was important as ceramic (stoneware/ earthenware and porcelain) were foreign to me as a maker, yet as a consumer, my home and work-space are dominated by it in the artefacts I use in everyday tasks. As an industrial designer we are often separated from this handcraft-ing process more than likely will spend our time working on tooling that creates the form for us, remotely creating our designed objects through a computer mouse, or simple prototypes that will someday manifest into a mould or tooling part, yet we rarely get to experience this very sincere connection with the user of our designed products. Baudrilliard writes that the ultimate and most valuable thing a hu-man can pay for is another human’s time and labour (Fuad-Luke, 2009). It is the most exclusive and unattainable object. This is what allows Aston Martin to charge 700,000 pound for a hand assembled version of a machine assembled 100,000 pound coupe (Fuad-Luke, 2009). The fact is that the manufacturers state of the art robot as-sembly is far superior to that of human assembly techniques in terms of panel fit etc. When nothing can get more powerful, more prestig-ious, more sustainable or more desirable, the ultimate pinnacle is the slave mentality of another humans labour. Perhaps therein lays an element of altruistic exploitation in my cup project, however this is not the context I hope to propel the artefact into. Essentially the cup cre-ates a co-dependant relationship with the user, it cannot be placed on a flat surface as the base is convex, the process is uncomfortable and unfamiliar to the user. Referencing Sloterdijk and Lilly’s product and user ‘master and slave’ frame works I hope to disrupt this culture of behaviour and use by creating a co –dependence on both parties in order to achieve the desired outcome, of accessing the contents / space within the designed vessel.

// PROPOSITIONAL FRAMEWORK

//WEDGE, WRAP, THROW, DRY, TURN, BISQUE, GLAZE, CLEAN, FIRE.

Rem Koolhaas depicts his version of a bleak and desolate built envi-ronment in his essay collection ‘s,m,l,xl’ in which he writes about the ‘generic city’. Koolhaas explains that global cities have become hyper realisations of themselves and that in fact they are simply paying ‘lipser-vice’ to minimal cultural and historical elements of the past rather than identifying elements of the present evolution and use of the city as it morphs and expands. Koolhaas uses red postal boxes, Victorian Tudor styled bus stops and phone booths as examples of this derivative and static development. On a smaller scale I believe this can be applied to a domestic vessel object in order to comment on the stagnation of semiot-ics and cultural association within the archetype of a drinking cup. We have reached a point where a drinking vessel is either for purely aes-thetic appreciation or is so utilitarian that its own identity has been dis-regarded for the purpose of a social transactions (reference required), in this case the promotional slogan coffee mug comes to mind. We take this object so much for granted that we are unable to even recognise the cups identity any more other than as a vessel to translate a message, a vessel for branding as opposed to a vessel for human sustainment. Ger-man Philosopher Peter Sloterdijk depicts the human condition of master and slave relationships to our products and wider world to that similar of ‘foam’. He states that our ideas of space revolve around vessel ob-jects that support our worldview of connection to special bubbles in and around us, both as individual being and as a larger or fluid collective. We wake in our bedroom, and leave that sphere space by moving into the separated bathroom, which is another space yet part of the larger house ‘sphere’. On a micro level, it could be said that we are constantly inhabiting many spheres on many different levels, we may be contained in the ‘sphere’ of our kitchen within the larger ‘sphere’ of our house, whilst cradling a cup (micro sphere’) that we value for its holding capac-ity. When we leave the house we get into our transportable ‘sphere’ – our car - and are transported to a larger sphere made of many complex smaller ‘spheres’ which could be our office building. Sloterdijk refers to

// THEORY OF SPHERES

this as returning to the original man, borrowing from Freud the belief that upon birth, man is inherently programmed to recreate the ‘wholeness’ of being in utero, therefore we are all programmed to have an intrinsic bond to vessel objects, large and small, that will somehow allow us to feel centred and ‘whole’ in order to return to our original state of connection. Sloterdijk makes the connection between space and its inhabitant as be-ing one that articulates a sense of belonging. He states that the modern idea of a house can be translated as the modern biological concept of an ‘environment’, therefore the user and their immediate spaces that they inhabit create a relationship of mutual belonging. This co-habitation and co-dependant relationship can be applied to cultural objects in modernity such as the drinking tea cup wherein for a specified time and space the user and object embody a relationship of a micro environment and mutual belonging.

I have taken a slow design trajectory in developing this project in the hope to develop an object that speaks loudly the value of sustainable consumption and can be somewhat representative as a distillation of what the slow design movement represents and its world outlook. At this point I must reference the craft, furniture and architecture style of the early 19th century American Shakers. Its lack of ornamentation, visual and physical lightness was a materialized expression of the belief sys-tem and Weltanschauung. The shakers paired back aesthetic and repre-sentation of a world view through an object has influenced the outcomes of my project as an encouragement of how successful fundamental principles can be when applied diligently. In exploring this however one has to challenge sustainable methods with that of the ‘post-development theory’ movement, which argues that intentional intervention of the sus-tainability movement only moves to enhance the environmental degra-dation driven by consumerism and industrialization of the modern world by the west. Whilst it has been derided as simply a destructive argument that provides no alternative solution (Morse, 2008) , if interpreted as little more than an important critique of capitalist behaviour then it may provide an important contribution to the diversity of my social and sus-tainable discussion through the outcomes of this exploration. “What does Post Sustainable development mean in practice? It means an increased emphasis on process and not just end-point, by encourag-ing self reflection by all involved to help with a setting of endpoints (out-puts) and approaches but also to facilitate an appreciation of why deci-sions are being made…………All to often the emphasis in sustainable design has been on the end point, the goal, with participation merely a way to derive an assumed legitimacy and accountability……….sustain-able design has to have people at its heart as without people there is no sustainable design” (Bell & Morse, 2007)

// SLOW DESIGN

The intention of the final form was to transfer the quality of my hand made cups into a batch made item that imbued the soul and quality of those I had individually crafted. This involved transferring the forms created by my hand into an amalgamated form in 3d in order to create moulds and eventual slip casts from the 3d printed mesh. The challenge here was to maintain the integrity of the forms as inevitable editing need-ed to occur to allow of the 15% shrinkage in firing, both bisque (initial) and glaze (secondary). 3d scanning was outsourced to ensure that all imperfections- both on the exterior and (of more difficulty to achieve) the interior of the vessel, again to maintain integrity (see mesh screen shot). Rapid prototyping was then utilised to create resin prototypes 15% larg-er for plaster moulding and then eventual slip casting of the porcelain (see image). Again, I have selected bespoke porcelain, the ceramicist’s own recipe, for the final cup for the following attributes: -Porcelain is too difficult to hand throw on a wheel, its uneven and non-linear drying periods and proneness to cracking.-Super fine wall thicknesses can be achieved when slipped, combined with strong durability.-Translucent quality of fine porcelain when clear glazed.-High social and traditional values attributed to porcelain wares.

Compared with many paths of possible manufacturing techniques, this model and tool construction did not require any fundamental innovation aside from the problematic positioning of glazing a round-based vessel within the kiln, rendering it unable to be fully glazed. The result is a fine walled vessel that is near transparent in its lightness yet the tactility of the slightly porous and satisfyingly full shaped body sits warmly in the palm. In retrospect this blemish has provided a lovely point of contact between the product and user. However unintentional, this aspect of the final object is possibly my favourite facet of the products semiotics as it is an obstacle that was not apparent in the hand thrown stoneware iterations and only appeared in the porcelain slipped prototypes. Hence it was decided that rather than build a wire jig to fire the final objects on, it was best to leave them with the original base intact.

// DESIGN & DEVELOPMENT //The result is a fine walled vessel that is near transparent in it’s lightness and satisfying to hold.

A naturally lit space, the hum of an antiquated wheel pulsing as it spins and the smell of freshly opened raku earthenware has become the space of which all my thinking through making has evolved for the body of this project. The intention was to engage in a practice-based exploration of adding value to form through experience. Ultimately I want to present a body of work that proposes an experience embedded within the object that has the ability to spark a collective responsible consumption discussion through the users individual experience. I have cherished the opportunity to work as a designer in a medium that enables direct contact with the form in real time; every flick of the wrist is visually represented in the form being produced. The importance of this project was for me to understand and learn how variation in form can im-pact the final outcomes in both the perception of the designer and more importantly the user. The constant of this project was to enable an object the opportunity to speak as an expression of my own personal sustain-able weltanschauung or ‘world view’. The hope was to create an object powerful enough to distill the discussion required for people to pick it up and talk about it in a way that draws on its intrinsic social nature (the cup as a culturally social object). I believe that I have achieved what I set out to do within the framework of social and sustainable studio in order to explore and shape my own understanding of critique driven process as a body of work, rather than designing an object based on a utility based or purely aesthetic brief.

// CONCLUSION

Boon, T. (2005). “Got-to-have gadgets.” Museums Journal 105(6): 18-19.Caple, C. (2006). Objects: Reluctant Witnesses To The Past. New York, Routledge. One: 31.

Crilly, N. (2010). The roles that artifacts play: technical, social and aes-thetic functions. Cambridge. The University of Cambridge Press.A very succinct paper on the separation and classification of functions of artifacts. Very insightful theory and referencing the automobile as the primary example of how function value can be interpreted and how value is more commonly place on an objects non- physical functions.

Darms, L. (2009). “The Archival Object: A Memoir of Disintegration.” Ar-chivaria (67): 143-155. Hajer, M. (1999) The Generic City. Theory, Culture & Society Volume 16, 137-144 A de-construction of Koolhaas’ unfinished theories. While very critical of his writings, this was a good introduction to how “generic city” is perceived within a wider academic audience and also a good starting block to familiarize with the new theories.

Koolhaas, R. (1998). S, m, l, XL. New York, Monacelli Press. Introduction and Chapter 1 are utilized to introduce the “generic city” into my arguments.

Latour, B. (2009). A Cautious Prometheus? A Few steps toward a phi-losophy of design (with special attention to Peter Sloterdijk). Networks of Design: Proceedings of the 2008 Annual International Conference. V. M. Fiona Hackney. Johnathan Glynne. Falmouth, Universal Publishers. Molotch, H. (2003). Where Stuff Comes From: how Toasters, Toilets, Cars, Computers and Many Other Things Come to Be as They Are. New York, Routledge. A simple written documentation of design icon and an entry-level reading for design theory. The references section was essential in providing links to further reading.

Noordegraaf-Eelens, W. S. L. (2011). In Medias Res: Peter Sloterdijk’s Spherological Poetics Of Being. W. S. L. Noordegraaf-Eelens. Rotter-dam, Amsterdam University press. Fascinating analysis of relevant progressions of theory of spheres. The latter sections of the essay is more relevant to my argu-ment revolving more around the concepts of scale and macro vs. micro spheres in everyday life.

// REFERENCES

Papanek, V. J. (1973). Design for the real world: human ecology and social change. Toronto; New York, Bantam Books. Papaneks factual research projects were useful for starting to form ‘why’ my project should exist and what kind of comment I would like to make. Having read much of papaneks work I found re-reading this piece was essential for forming research methods, incorporating my already evolving poetics methods.

Papanek, V. J. (1983). Design for human scale. New York, Van Nostrand Reinhold Co. Peacock, Z. and B. Werrett (2007). “Objects: Reluctant Witnesses to the Past.” Icon News (12): 34-34. The article reviews the book “Objects: Reluctant Witnesses to the Past,” by Chris Caple. A basic introduction and small abstracts are included for their superior relevance. I cannot get this book in Australia as it is on very limited print run. Hopefully in 2012.

Petroski, H. (2003). Small Things Considered: Why There is No Perfect design. New York, Alfred A. Knopf. An honest comment on the nature of design and its inherent flaws. Although an easy read, it allowed me to explore an area I wish not to tread within the boundaries of my project for reasons of fundamental difference in opinion.

Shadbolt, D. (1985). The Transparency of Clay. Nova Scotia, NSCAD Press. A biased (revolving around clay and ceramic industries) series regarding historical analysis of vessel objects.

Shipton, T. F. J. (2010). Designing For Reuse: The Life of Consumer Packaging. London, Earthscan. Current popular, easy read on the topic of eco design. Great further reading section, which was used to influence further research.

Silver, C. J. N. (1973). Adhocism: The Case for improvisation. New York, Anchor Press. Sudic, D. (2009). The Language Of Things: Understanding The World of Desirable Objects. New York, Penguin Books. Series of case studies that de-constructs ‘luxury’ items by influ-ential designer and discusses why they have sold so well, and what they actually represent about post-modern tastes and values.

PHILIP PILLE / OPEN ENCLOSE

This is a summary of research I have undertaken into enabling additive manufacturing at a micro level in unusual and remote locations. After building an affordable personal 3d printer with the goal of increasing self-reliance, it became evident to me how inaccessible this technology still is. Despite being a low cost machine, the unit could not be utilised in unusual and remote locations because it was too fragile and could only work under certain operating environments. If this type of technology is to be utilised in such locations, a protective microenvironment will be required to allow normal operation and increase the unit’s life. Extending the locations in which this technology can be used will broaden its application and allow additive manufacturing to become an agile innovative and truly democratic technology. These considerations have led me to explore a variety of affordable options for providing microenvironments for low cost 3d printers.

// Open Enclose

//Philip Pille

Micro-Environment for Remote Additive Manufacturing

Additive manufacturing is a technology that allows its users to create virtually any form within dimensional constraints to manufacture through the addition of material. This differs from past manufacturing methods which have generally been reductive and require the removal of material to create forms. Due to its additive nature it is a highly efficient manufacturing process with virtually no waste material.

The most well known device for additive manufacturing is the 3d printer. Previously, cost was a huge barrier to accessing 3d printing, and it has not received much exposure or use by the general public. However in recent years this technology has become accessible to the consumer due to significant price drops and technological innovations. The RepRap 3d printer, born out of the open source movement, provided users with the plans and knowledge needed to build their own 3d printer at a very affordable cost. For less than $500, individuals can now purchase an open source machine which can print to a resolution of approximately 100micron, and can build spare parts, moulds and other useful items (Drumm n.d).

Currently the majority of manufacturing still occurs in factories using a sequential system first developed by Henry Ford at the beginning of the last century. As a result of this system of mass production luxury goods became affordable for the majority of the population. Ford expected that through affordable consumption equal quality of life would be achieved for all, which in turn would lead to world peace (Watts 2006).

As the method of mass manufacture through the assembly line became the norm, the previously dominant arts and craft industry diminished to a niche movement. The expectation that affordable consumption through mass manufacturing would lead to world peace did not come to fruition. Government subsidies and protective trade laws have meant that mass manufacture assembly lines have been able to survive and profit even if they are not financially or environmentally sustainable (Carson 2010).

Corporations with large inventories have carefully managed their sales and manipulated markets to ensure a long term profit. This has resulted in “the organisation of economy and larger political and social spheres that will allow corporations to function in a predictable and secure environment for profits over the long run” (Kolko 1963, p.3)

A significant proportion of the manufacturing capacity of governments and big business is very capital intensive. These factories are only profitable through economies of scale, and as a result they must ensure more goods are produced and sold, even if there is no real need for these products. New innovations are not adopted quickly as the cost of replacing the current assets and reconditioning the consumer to want the new product is too great, especially if the previous investment has not yet generated the necessary returns.

Additive manufacturing has great potential to change the manufacturing ecosystem worldwide, as it has two aspects not found in traditional mass manufacturing. First, it is a technology that can be acquired with very little capital and is thus not dependent on an economy of scale. Second, it is highly flexible in that new and potentially disruptive innovations can be rapidly adopted. Because of its low initial cost and very flexible capabilities, additive manufacturing has the potential to provide manufacturing technology to communities around the world that could not otherwise access it. This could lead to new and independent economies that have the potential to provide a better quality of life for such communities.

For example,

“parts of systems, which would require additional pieces produced elsewhere to be used such as water system parts. Among other chall enges to AT water systems, pumps frequently fail and the availability of spare parts is low. Simple

Drumm, B. “Printrbot.” Retrieved 29/1/2012, from http://printrbot.com/.Watts, S. (2006). The People’s Tycoon: Henry Ford and the American Century, Knopf Doubleday Publishing Group.Kolko, G. (1963). The Triumph of Conservatism: A Reinterpretation of American History. New York, The Free Press of Glencoe.Pearce, J. M. (2010). “3-D Printing of Open Source Appropriate Technologies for Self-Directed Sustainable Development.” Journal of Sustainable Development 3.

Discussion of Additive Manufacture

parts, which could be printed, like taps, that are a leading failure mode. Tools and parts could be produced, or existing tools could be customized for greater productivity” (Pearce 2010, p.21)

This scenario demonstrates how valuable independent manufacturing can be. Large distribution networks are avoided and yet the objects can be obtained at the time they are required through local manufacturing. There is no need for massive initial investment in factories; no need for extensive and environmentally damaging distribution networks; no need for large warehouses filled with potentially useless inventory; and the manufacturing process doesn’t result in offcuts or excess material. Carson, author of The Homebrew Revolution, writes:

It should be noted that open access to digital design—perhaps in the form a global repository of shared open source designs— introduces a unique contribution to human prosperity. This contribution is the possibility that data at one location in the world can be translated immediately to a product in any other location. This means anyone equipped with flexible fabrication capacity can be a producer of just about any manufactured object. The ramifications for localization of economies are profound, and leave the access to raw material feedstocks as the only natural constraint to human prosperity. (2010, p.229)

Carson, K. A. (2010). The Homebrew Industrial Revolution, A Low‐Over-head Manifesto. United States, BookSurge

Manufacturing throughout the world could become far more democratic and equitable through the effective and efficient adoption of additive manufacturing. The only remaining dependence is the raw materials and the networks or information highways used to acquire the designs for the manufacturing process.

Fused Deposition modelling (FDM) printing is an additive manufacturing method that uses polymer filaments. A desire to be able to make the feedstock for a 3d printer necessitated exploring such polymers. The most commonly used polymers are the acrylonitrile-butadiene-styrene (ABS) polymer; polylactic acid (PLA); or polycarbonate (PC)(Wikipedia 2012). These polymers are fed as filaments into the printer where the polymer is rendered molten. The molten polymer is then extruded through the print head and converted into the desired form by the printing process.

The polymers suitable for FDM are often available as waste products from traditional mass manufacturing, or from obsolete designs or waste from the 3d printing process. Recycling of these waste streams would lead to a closed manufacturing loop, resulting in a new level of manufacturing self-sufficiency and personal independence. There have been a number of attempts at creating reliable solutions to recycling these waste streams. Generally two strategies are pursued. One is to build a device that is capable of receiving and melting waste thermoplastic polymers, which are then extruded into continuous filaments that can be reused in the printing process. The other tries to integrate the waste-recycling unit into the print head of the 3d printer. However, the weight of the additional equipment reduces the accuracy of printing (Rep-Rap-Wiki 2012).

Initially I was planning to build such an extruder as my final project. However, during my initial research I learnt that the development of such extrusion systems for 3d manufacturing is already underway. Robert Eales from Monash University has built an extruder for 3d printer filaments as part of his

postgraduate studies (Eales, 2012, Personal Communication). A number of other projects are reported online; for example, Filabot has received US $32, 000 for such a project through Kickstarter.com, the online crowd funding website (McNaney 2012). As a result I decided to not pursue this idea.

Wikipedia (2012). “Fused Deposition Modelling.” Retrieved 29/1/2012, from http://en.wikipedia.org/wiki/Fused_deposition_modeling.Rep-Rap-Wiki (2012). “Granulat Extruder.” from http://forums.reprap.org/read.php?252,53592,page=10.

Extrusion of Thermoplastic Polymers as a Means to Complete Self-Reliance

//“anyone equipped

with flexible fabrication capacity can be a

producer of just about any manufactured

object”

Drumm, B. “Printrbot.” Retrieved 29/1/2012, from http://printrbot.com/.

As part of my research I built an additive manufacturing unit known as a Printrbot that can be purchased in kit form (Drumm n.d). Constructing and building the machine made me aware that much development still needs to be made to this still immature technology for it to be widely adopted.

The unit can be assembled like a Lego set from parts that are mainly made from ABS plastic and metal rods. Attaching electronics and in-stalling software makes this assembly a functioning additive manufac-turing unit. However, the technology is developing so rapidly that the model that I built was already obsolete four weeks after I purchased the kit.

When using the machine it became apparent how very sensitive the printer was to its surrounding environment. Some parts exploded due to overheating and other parts were damaged during transportation despite extreme care. The Printrbot, as is the case with many open source bots, is a barebones machine. This means it has the skeleton to make it work, but not the skin that protects it from the elements. The current generation of low cost 3d printers cannot have any impact in an environment outside of the typical office or workshop. However, a rug-ged enclosure would allow this technology to flourish outside of these protected environments.

Building a 3d printer //...as is the case with many Open Source bots, is a bare-bones machine, so it has the skeleton to make it work, but the skin which pro-tects from the ele-ments does not exist

After further exploring the potential of the 3d printer it became apparent that a large gap exists between the ‘open source 3d printer enthusiast’ and the general consumer who wants to benefit from the technology. Building a 3d printer is quite simple; however, the difficulties in obtaining good printingresults lie in the variables of the printing process. Some of these variables include operating the correct software with the correct code, ensuring the printer is in stable environment, general wear-and-tear and the malfunction of mechanical parts. Controlling these variables in a simple manner would make 3d printing more user friendly. Making the technology more user friendly would help the spread of additive manufacturing from the ‘open source 3d printer enthusiast’ to the general consumer.

At this stage of my research my focus shifted to turning 3d printing into a more rugged and common tool. It was to be a tool which tradesmen could use onsite, or people on the weekend could use in their

workshop or soft lab. However, this investigation was eventually also dismissed as the physical properties of thermoplastic polymers can never allow FDM 3d printing to occur at a rapid and reliable enough rate for it to be a viable method in a trade or tool-like context. The time it would take for a tradesman to make use of the printer would be too long for it to be profitable as an onsite tool. It will also likely never be possible to have an additive manufacturing unit that could print whilst in a moving vehicle, dueto external inertia. Currently I am not aware of any tests involving these scenarios and feel that there is still great potential for a bot which is capable of fulfilling these specifications, particularly manufacturingwhilst driving.

The notion of being able to access an additive manufacturing unit

Opportunities for a More User Friendly 3d Printer!?

Reddit, 2012, Are any small companies making prototypes for cheap now?, viewed 17 July 2012, <http://www.reddit.com/r/3Dprinting/com-ments/u9elj/are_any_small_companies_making_prototypes_for/>

People who want something made using additive manufacturing and the people with the ability to fulfilthis need are not easily able to connect with each other. Thus there is currently no real way to access thetechnology beyond owning a unit oneself or knowing someone who does (Reddit 2012). A crowdsourcingservice could create this connection. Currently there are no such services in Australia that cater tomanufacturing in low runs at low cost, but it is possible that a crowdsourcing service could finance itselfby receiving a percentage on the commission the individuals doing the printing received for their work. Inthis way, the printers would receive economic gain and the customers would receive their desired printedparts.

The social benefits of enabling individual manufacturing would be far reaching. It would challengeestablished manufacturing streams and empower individuals to take charge of their manufacturingneeds. When something breaks, it does not necessarily have to be thrown away as obsolete, but ratherthe needed part could be replaced by printing it out. As we enter a world where uniqueness andpersonalisation is becoming more and more valued, individuals using this service will have the ability toaccess these emerging desires in an affordable and unique way. It also gives the owners of these additivemanufacturing units an income stream.The emergence and growth of additive manufacturing coupled with the connectivity that the internetaffords are the keys to creating a manufacturing service which is affordable and accessible to the generalconsumer around the globe.

Social Manufacturing //The emergence and growth of additive m a n u f a c t u r i n g coupled with the connectivity that the internet affords is key to creating a manufacturing service which is affordable and accessible to the general consumer around the globe.

bidding process for job

user - has need for manufactured item

user - uses pc and internet to access

organisation

organisation - creates connection between user with need and people

with personal manufacturing units

personal manufacture - fulfill manufacturing need with personal

units

organisation - job crowdsourced

across organisations

network

personal manufacturers - lowest bidder wins the job

whilst fulfilling the users requirements

completed job received by user / manufacturer receives payment

user gains access to manufacturing stream for

personal needs

organisation provides a service which connects the user with manufacturer and takes a percentage of each

sale

personal manufacturer receives amount agreed upon with user whilst fulfilling users

manufacturing needs

and securely, individualscould exploit this new potential to great personal and communal benefit.

The use of a protective micro environment in an enclosure will create a level of flexibility in processingconditions that will enable part production at remote loca-tions. This will generate new scenarios of usefor this technology.For Example:

Mobility –

Facial prosthetics using 3-D printing are already being investigated for the de-veloped world and limb prostheses. Prostheses are typically very expensive, and widespread issues with availability and distribution causes poor access in developing countries . Less expensive designs, such as the Niagara Foot are being tested in the developing world already. Creating prostheses locally with a 3-D printer would allow local customization and cut down on transportation costs.(Pearce 2010, p21)

Temperature/Moisture –

Scientific Equipment and Tools can be developed onsite as they are needed during field trips to assist the research process. For example, PhD Candidate Danielle Klomp of the University of Sydney is studying the evolution of Genus Draco, a small flying lizard, with populations in Malaysia, Indonesia, Philippines, India, and Thailand. This involves using a variety of custom holding and marking devices in a range of locations which are both hot and humid. These devices are used to hold and tag the different sized and shaped lizards whilst trying gain consistent and reliable data. These holding devices are either made before the field trip which requires a high level of accurate planning or often made on the fly using available materials. The inconsistencies in holding and marking devices can have an impact on the reliability of the data collected. The use of a CAD

template and onsite 3d printer could enable a consistent holding and tagging mechanism for a variety of body shapes. Improving the overall data collected whilst on field trips, leading to a better research result.

Prices of open source 3d printers range from approximately A$500 to over A$2000, with quality andefficiency generally increasing with price. These open source machine consist of a barebones chaise withelectrical components ex-posed to the surrounding environment. Many of these parts are highly sensi-tiveto external elements such as temperature, dust and humidity.

Relative Humidity levels below 78% are deemed safe for electronic use, al-though ranges of 40% to 75%are more ideal (Smith 2006). The Temperature can be anywhere in the range in which humans are alsogenerally comfortable, but ideally between 23 – 27 degrees Celsius (Smith 2006). Due to the hygro-scopicnature of ABS and PLA polymer, the relationship between humidity and temperature directly affectsabsorption of moisture within the polymer. Moisture within the manufacturing material has an effecton the manufactured artefact as well as an impact on the overall operation of the machine used formanufac-ture. The printing result will often be filled with visible inconsistencies such as bubbles and thestrength of material bonding is also reduced (Bozzelli 2011). The machine will also be more likely tobecome clogged and even incapable of printing as the ABS’s morphological and mechanical propertiesenable swelling when moist (Siti Nur Amalina Mohd Halidi 2012).

The lack of a protective microenvironment confines the printers to a controlled environment, but ifthe unit was protected within its own micro environment, this would enable manufacturing within newscenarios, providing specialised tools and assistance specific to the local need. Basic environmental factorssuch as heat, humidity, dust, and external interference would not need to be controlled.

The rate of innovation is rapid within the open source additive manufacturing community. With thiscome minor and significant form changes and alterations. Therefore it is difficult to create a singleprotective enclosure that will fit all mod-els. A modular or customisable form could provide just enoughprotection and functionality whilst increasing the amount of bots that could make use of it. Mak-ing aunit mobile whilst ensuring it will not incur damage during transportation could also enable new systemsof usage. By making the unit agile enough to move from place to place rapidly

A Rugged, Moveable, Micro-environment

//If a level of flexibility in processing conditions is developed through the use of an enclo-sure it will enable part production at remote locations enabling new scenarios of use.

requires custom holder for lizards and spectrometr

uses laptop to create holder with

CAD template

prints holder onsite using enclosure

utilises holder without having to

leave worksite

Danielleoccupation: Research Scientist

tasks: Studying flying dragons and their evolution. Trapping, testing, marking. Requires specialist custom tools

environment: Mangroves in the Philippines and Jungle in Borneo.

environmental challenges: Hot, Humid, Dusty, Mobility

Halidi, S N A M 2012, ‘Moisture and Humidity Effects on the ABS Used in Fused Deposition Modeling Machine’, Advanced Materials Research Advances in Manufacturing and Materials Engineering,Pearce, J. M. (2010). “3-D Printing of Open Source Appropriate Technolo-gies forSelf-Directed Sustainable Development.” Journal of Sustainable Develop-

Bozzelli, J. (2011). “ You Must Dry Hygroscopic Resins.” Retrieved 1/10/2012, 2012, from http://www.ptonline.com/columns/you-must-dry-hygroscopic-resins.Smith, B 2006, What should the average temperature and humidity level be in an electronic assembly facility?, viewed 1 October <http://www.circuitnet.com/experts/40104.shtml>

Experimentation with off-the-shelf and OEM parts led me to develop some cheap and potentially highly effective solutions to creating an enclosure for open source printers of various sizes. All enclosures at-tempted to provide dust, temperature, and humidity control, but some lacked mobility or complete insulation. The enclosures that were not very mobile generally had a ducting system attached to them to conduct any plastic fumes outside of the immediate environment.

These experiments have lead me to develop a DIY system which pro-vides a stable working environment for open sourced 3d printers which protects it from the surrounding environment and can be easily and cheaply made by the general consumer using commonly found objects.

The overall aim of this project was to enable access to rapid manufacturing technology by a wider demographic in a wider range of environments.

Thanks to a low capital cost and the independence of open source design, this technology can now be used to extend manufacturing to places which were previously inaccessible through the use of a ruggedizing enclosure which provides a stable micro-environment. The spectrum of benefits that may result from increased access to this technology are context specific. For example, additive manufacturing can significantly improve individual quality of life by rapidly producing a highly specific item such as a facial prosthetic. Conversely, it could be used to improve community prosperity through the development of new agricultural equipment, resulting in more food production.

Through the use of a ruggedizing enclosure that provides a stable microenvironment, individuals and communities have the ability take control of their manufacturing needs enabling a higher level of self-preservation and independence. Use of this enclosure will allow additive manufacture to become a truly democratic manufacturing process and support the emergence of alternative economies that are localised, democratic, resilient and agile, whilst leaving the archaic and wasteful economy of mass manufacture behind.

DIY Micro-environment Conclusion

CHARLES SKENDER / TANK

Lower than average rainfalls in Australia has contributed to a sharp drop in stream flows into dams. This has resulted in substantial decreases in the average yield from dams and an increase in the reliance on groundwater and desalinated water supplies. As a result current water resources face growing pressure from an increase in households and consumption, resulting in widespread urban water shortages. The good news is that collectively, households still have the greatest potential to make a significant contribution to reducing water use with showering accounting for the greatest percentage (22%) of overall use by households. The shower alone possesses a great opportunity for a design intervention to achieve minimization of domestic water consumption.

Charles Skender

// Tank Facilitating new forms of sustainable engagement

//

//Upon reworking a device to enhance water conservation efforts a new model must evolve.

Traditionally water conservation models have been loosely based around two broad ‘models’ of human behaviour (McKenzie-Mohr et al 1995; Rolls 2001). One is the attitude-behaviour model, which is based around the idea that an individual’s behaviour is determined by their attitudes towards a particular issue and that their behaviours can be changed by influencing their attitudes. This model assumes that individuals may not be aware of the psychological factors at play in their decisions. The other is the rational-economic model (also known as the rational choice model), which is based on the assumption that to influence conservation based decisions a consumer requires only information relating to the financial and performance advantages of alternative choices to enable them to act accordingly. This model assumes that users are aware of the relevant information (or are willing to seek it) and are aware of the consequential impacts of their choices. Upon reworking a device to enhance water conservation efforts a new model must evolve.

Both models assume they describe a static phenomenon, that is, “something that can be predicted and managed in its course and direction” (Strengers 2011, p. 40). Behaviour, on the other hand, is unpredictable; nobody knows exactly what they will be doing three seconds or three days from now. What we do know is that “behaviour is a product of three factors: motivation, ability and triggers” (Fogg 2009, p. 1). Tank operates by combining all three factors to develop a new solution to water conservation behaviour.

// AGENDA

NORMALHappy - Relaxed

LOW ENERGYCold - Hungover - Tired

HIGH ENERGYEcstatic - Confident

Up until now showering behaviour has been largely defined by prevailing theories of social significance, therapeutic qualities and pleasure and duty (Shove 2003, p. 406). None of these concepts point to a solid understanding of socially accepted levels of hygiene and sanitisation. With these levels remaining largely ambiguous, how do we start to design a system that imposes guidelines whilst still obtaining maximum consumer motivation? As Fabricant (2010, p. 50) states, “people don’t like to set ‘policies’ for themselves...and we’re not very good at following them even when we try”. He goes onto say that “the most effective triggers come from other people” (2010, p. 54). However, it is important to control the communities we compare ourselves to. Users commonly experience motivation in waves with peaks and troughs; at moments of peak motivation they are temporarily able to do hard things and at moments of trough motivation they are temporarily unable to do hard things. In parading users experiencing low motivation in front of those experiencing high motivation we force a descent in social status. Furthermore this sense of failure diminishes the chances of future success. However, to avoid making all water conservation practices easier and more capable of completion, communities with similar motivation can define their own policies and compare themselves to achievable goals.

Here lies the beauty of tank – the ability to make the user succeed at the sustainable behaviour that most matches their current ability. When a user enters the shower, tank prompts them to select their current energy level. Through this, tank is able to set an appropriate shower length based on their selected community’s average. Any water saved above this average is deemed a success. By encouraging conservation success, no matter how small, we are facilitating a natural growth which hopefully leads to further and bigger successes. By coupling this theory with a trigger we can now form a new model for water conservation. The trigger can act as a spark to ignite a rise in motivational levels, a facilitator to make the behaviour easier to perform or a signal to remind a user. By having this trigger located inside the shower the user is reminded to perform a target behaviour at the most opportune moment, forming immediate responses to water consumption practices.

// MOTIVATION, ABILITY, TRIGGERS

//“Affordances do not cause behaviour but constrain or control it.”

In every environment there is the opportunity for action, yet the modern world remains a collection of out dated ideas seemingly dedicated to maintaining the status quo. Sustainability is a problem of our behaviour not of our materials. With this in mind, to what extent might tank improve the prospect for consumer conservation? How well does tank invite sustainable behaviour? The success of this attribute can be analysed through the theory of affordances. Affordances were first introduced by the psychologist J. J. Gibson in his 1977 article The Theory of Affordances (Gibson 1977) to convey the possibilities for action latent in one’s surroundings. These ‘action possibilities’ are measurable and exist independent of whether they are recognised by a user; but at the same time they exist in relation to the actor and therefore dependant on their capabilities. For example, in the human environment a floor affords walking, a cup affords grasping and water affords drinking. In making their way in the world, humans regulate their behaviour with respect to affordances. Darby (2010, p. 443) states that “introducing this concept to a consideration of a new technological application... is useful not only because it puts the energy user close to the centre of the discussion, but also because it sites the [resource] user in relation to technology.”

In order to achieve a significant reduction in water consumption we need to examine what these affordances mean in practice and for whom. As Gibson (1977, p. 411) points out, “affordances do not cause behaviour but constrain or control it”. Learning about these affordances does not simply concern the behaviours an object happens to afford but what it is meant to afford. As Costall (1995, p. 472) states, “objects have their proper or ‘preferred’ affordances”. They can be used in a variety of ways, but when alternative uses occur there may be sanctions against such deviation, such as discomfort when the shower turns off. However, taking control away from the consumer cannot be relied upon to improve the situation; it may entrench or legitimise high consumption practices, disengaging customers from any need to consider and question them (Strengers 2011). To avoid this, tank should treat every user as an autonomous human being. The environment should consist of opportunities that do not cause behaviour but simply make it possible, as “they are not mere puppets pushed by the environment like machines; rather, [consumers] have agency” (Withagen et al 2012, p. 250). Therefore it is imperative that we design objects that stimulate the creativity of the agent, implying more of its affordances are discovered and used. For this to happen there needs to be a focus on appropriate forms of interface (designed for ease of use and understanding), feedback, narrative and support.

// WHY TANK WORKS

As Brown (2012, para. 11) states, “while many analogue systems were once used to display data one parameter at a time (e.g., the gauge cluster in a car or the banks of dials in a ship’s engine room), modern digital interfaces allow data to be combined, compared, analysed and thus turned into more digestible, meaningful information in the form of visual representation and trends. This allows users to better engage with products and grasp complexity more easily.” With a live graphic LCD screen, appropriate information and encouragement can be displayed at any time. You can view your litres used, average consumption and quantity of water saved clearly through the tank display. Traditional feedback or ‘dumb’ metering exposes every field of consumption at all times, often leading to confusion and greater opportunity for error. The intersection between the physical and digital world in tank provides an arena of great possibility. Action possibilities can be mediated, useful information can be elicited at appropriate times, guidance can be offered when consumers need it – this may be turning off the shower, using less water, using the water more carefully, improving performance or using an alternative appliance such as a water efficient shower-head – and the impact of behaviour patterns can be methodically evaluated. Introducing an adaptive interface into this complex system will further increase its utility; for example, tank remembers community averages and can quickly calculate achievable conservation goals. This expedites the process, without preventing the more complex operations from being accessed when they are unnecessary.

// TANK IS VISUAL //The intersection between the physical and digital world in tank provides an arena of great possibility

In order to move from the periphery of a resource monitoring system to full participatory status, a measure of learning is needed (Darby 2010), that is, the acquisition and use of practical knowledge, tacit or explicit. This can be encouraged through educational campaigns or advisory services.

However, according to Costall (1995, p. 472):We can also learn the affordances of things through people without explicit instruction from them. The recent research on social learning in animals has identified a variety of ways whereby a ‘local enhancement’ of use of a resource by one animal rises through the influence of other animals. Some of these processes do not require the actual presence of the other animal. A bird may discover a new food resource through the consequences of the activity of another, for example through a hole pecked into the top of a milk bottle.

Tank shows you the activity of your family and friends to motivate you to save. You can challenge yourself to beat your friends’ daily averages and ‘personal best’ records each day. Through this activity, users have the ability to earn achievements. By posting your tank achievements to Facebook and Twitter you can connect with fellow savers and find people who support you and what you do. In this forum new practices of water conservation behaviour can evolve and spread. Information on how to achieve new levels of water sustainability can be crowd-sourced and shared.

// TANK IS SOCIAL

//Coupling water conservation efforts with a game adds another dimension of utility and complexity to the system, allowing users to compete.

However, users may not be motivated by data as an end in itself. As Schwartz (2012, para. 2) explains, “the ‘so what’ for many people isn’t related to the idea of quantified self at all – instead, perhaps, it’s winning a game”. Coupling water conservation efforts with a game adds another dimension of utility and complexity to the system, allowing users to compete. This factor encourages users not only to use the system, but also to use it better and more often. The premise for the game, Fish Tank, is simple, you start with an empty aquarium and your goal is to fill it with conserved water in order to populate it with a living ecosystem. The only catch is that in order to fill your tank you must pause, reduce and rethink your water consumption habits. The water you save against the community average is instantly transferred into your gaming platform. However if you use over the prescribed target, water is drained from your aquarium slowly killing the life within it.

// TANK IS FUN

To design a new paradigm for sustainable showering practices we must rethink traditional models. With tank, sustainability becomes a problem of behaviour rather than materials. By following a framework of motivation, ability and triggers it is now easier to make a significant reduction in water consumption. In every environment there lies some form of sustainable practice yet sometimes the practice itself seems hard and intimidating. With tank there is no intimidation factor; it processes information received from the user and creates personal challenges based on their level of motivation, maximising the ability to achieve conservation goals even on bad days. Furthermore, shower cycles can be easily paused without the worry of having to manipulate temperature levels upon return, making it easier to be more sustainable.

While it’s important to build up a data set comprised of useful and complimentary signals, it’s the “so what?” that allows you to really make change from the numbers. Through gamefication, water conservation practices suddenly turn from fleeting moments of high motivation into an addictive routine in which conservation goals constantly grow. Placing water conservation in the realms of behaviour change starts to offer new and exciting models for sustainability. With this in mind why stop just at the shower? Could we turn every resource consuming action into new forms of sustainable engagement? Could something as simple as turning the lights on prompt us to save? Thanks to the proliferation of low-cost sensors, devices like tank will allow users to track, graph and analyse their every move, providing tangible and socially accepted guidelines of previously ambiguous practices. Through this we are able to turn sustainable possibilities into reality.

// CONCLUSION //In every environment there lies some form of sustainable practice yet sometimes the practice itself seems hard and intimidating.

Strengers, Y. (2011). Beyond Demand Management: Co-managing energy and water practice within Australian households. Policy Studies, 32 (1), 35-58.

Withagen, R., De Poel., H. J., Araujo, D., Pepping, G., (2012) Affordances can invite behaviour: Reconsidering the relationship between affordances and agency. New Ideas in Psychology, 30 (2), 250–258.

Brown, A. (2012) Intersection of the Physical and Digital Worlds. Retrieved May 15th, 2012 from UX Magazine Web site: http://uxmag.com/articles/intersection-of-the-physical-and-digital-worlds.

Costall, A. (1995) Socialising Affordances. Theory & Psychology, 5 (4), 467-481.

Darby, A. (2010) Smart metering: what potential for householder engagement? Building Research and Information, 38 (5), 442-457.

Fabricant, R. (2010). Design for Awareness. Retrieved May 15, 2012 from Web site: http://www.slideshare.net/frogdesign/design-for-awareness.

Fogg, B. (2009) A Behavior Model for Persuasive Design. Persuasive 2009: Proceedings of the 4th International Conference on Persuasive Technology held in Claremont, California, 26th - 29th April 2009.

Gibson, J. J. (1977). The Theory of Affordances. Shaw R. E. & Bransford J. (ed.), Perceiving, Acting, and Knowing. Hillsdale, NJ: Lawrence Erlbaum Associates.

Rolls, J. M. (2001) A Review of Strategies Promoting Energy Related Behaviour Change. Proceedings of the International Solar Energy Society Solar World Congress held in Adelaide, South Australia, 25th November - 2nd December 2001.

Schwartz, A. (2012). Using The Addictive Power Of Gaming To Make You Exercise More. Retrieved May 15, 2012 from FastCo.EXIST Web site: http://www.fastcoexist.com/1679735/using-the-addictive-power-of-gaming-to-make-you-exercise-more.

// BIBLIOGRAPHY

ASHLEY SMITH / SEECHANGE

Sustainability, Behavior Change, Water, Smart Technology, Monitor, Retrofitting.

Governments have long sought to address the area of water management within practices of sustainability, but with limited success in the domestic domain. Households are merely encouraged to reduce their use by being given a numerical value to adhere to (such as Melbourne’s Target 155 program); without having a way to accurately measure the impact they are making on a regular basis. This has resulted in a lack of conviction from the public towards water saving policy. See Change aims to change this disengagement and give users the ability to monitor and manage their resource-use more accurately, by providing them with real-time feedback on usage patterns of household appliances. Sitting within the retrofitted space, the device allows the user to access information without the need for purchasing new appliances – bridging the gap between past products and contemporary developing technology. Incorporating smart technology, product output can be viewed on smart devices – increasing user participation and, consequently, giving them the ability to change their own behaviour. Efficiency gained through the capacity to plan and schedule activities will improve the prospect for consumer engagement. Over time, this will lead to incremental conservation, culminating in an overwhelming environmental impact.

Ashley Smith

// SeeChange Simplifying Sustainable Behaviour

//

See.Save. Sustainable.

Sustainability is one of the world’s most popular buzzwords of recent times; as such it has come to incorporate many methodologies which do not necessarily fit within its traditional definition. This blurring of the lines between what is and isn’t classed as sustainable has led to scepticism among many consumers about who to trust to make such designations. This lack of trust is compounded by a shortage of consistent messages and information regarding what action consumers should be taking and why. Over time this has led to the fading both of households’ motivations to make positive environmental change, and of their awareness of the consequences of their actions (Spencer & Lilley, 2009).

A year of research and study was undertaken looking at how we can approach the issue of sustainability differently, with both the present and future scenarios in mind. A holistic multidisciplinary approach was used that included looking at behavioural science, technological advances and systems design. After six months a blueprint was put forward for creating sustainable change. The second six months was spent actioning this blueprint and developing a design solution – the result of which is SeeChange. SeeChange is a system that aims to address the lack of clarity regarding what actions consumers should be taking by helping them to use their innate motivation to be sustainable. It does so by enhancing the connection in the consumer’s mind between the actions they are taking and their environmental impact in a simple and effective manner.

// Introduction

//A holistic multidisciplinary approach was used, that included looking at behavioural science, technological advances and systems design.

SeeChange

RETRO FITTING

SMARTTECHNOLOGY

REDUCE ENVIRONMENTAL IMPACT

ECONOMICAL

USERHABITS

BEHAVIOURCHANGE

TECHNICALINNOVATION

reduce waste to landfill

reduce water consumption

reduce unsustainable user habits

Reducenumber of

userinteractions

Increase user

engagement

Extend product

lives

reducewaste

savewater

savetime

SYSTEMSINNOVATION

Simplifying Sustainable Behaviour

//SeeChange is a system that aims to address the lack of clarity regarding what actions consumers should be taking...

Australia is one of the world’s driest nations; over the past decade there has been a severe drought leading to a negative impact on the local agriculture sector (Satore et al., 2008). In 2009, agriculture used 6996 gigalitres of water – just over half of all water consumed in Australia (Australian National Water Commission, 2010). As the population continues to grow, the yields required of Australia’s agriculture sector will increase and more water will be needed to service it. Water is a finite resource and one that has been in deficit in Australia for some time. To address this problem, management plans to help curb domestic water usage have been put in place by government. Melbourne’s Target 155 is just one example of a program that has encouraged the public to reduce their water usage patterns by specifying a value to adhere to (Save Water Target 155, 2012).

Along with these schemes, long-term, non-rainfall reliant infrastructure such as desalination have been implemented; however such infrastructure projects are often expensive and have knock-on environmental impacts (Lattermann & Hopner, 2008). Desalination is an incredibly energy intensive process, much of which cannot currently be provided by renewable sources. Additionally, it also deposits large amounts of salt back into the ocean – the impact of which is yet to be determined. Consequently, it is clear that for Australia to continue to have an agriculture sector that is able to meet the needs of the nation now and in years to come, water must be saved in other areas of use. After agriculture, domestic practice is the next greatest user of water; consuming 20% of all water in Australia in 2009, with much of this consumption put down to poor user habits (Australian National Water Commission, 2010).

Water use within the home can be categorized into a number of usage areas such as bathroom, kitchen/laundry, and outdoor. On average the bathroom accounts for 50% of the household usage, with outdoors and kitchen/laundry each using 25%. The management plans put in place currently deal with the bathroom (encouraging shorter showers) and outdoors (restricting use of hose pipes), with little attention paid to the laundry/kitchen. Consequently, the SeeChange project identified that strong gains can be made in water conservation in this area. 80% of the water used here is from the act of washing clothes (Waterwise Queensland, 2012). Washing machines can use anything from 60L to 200L per wash, with many people doing numerous loads a week (Brisbane City Council, 2012). While washing machine technology has become more efficient with the introduction of load detection and variable settings to give the user greater control, improving the efficiency of the products can, of itself, only provide limited reduction in water use unless inefficient user habits are addressed.

// A Vital ResourceA selection of ideation sketches for the InSight Monitoring Device.

Smart technology is described as “a machine/artifact that does something that we think an intelligent person can do...” (Derzko, 2006). Within the space of resource consumption in Australia, smart meters have become the latest way in which to track energy usage. Being a closed system however with no clear and simple method for the consumer to view the information recorded they have failed to revolutionize the way in which people view and change their approach to energy usage.Other common and well-known examples of smart technology are things such as smart phones and smart televisions. These work by helping consumers access information and connect with people and information effortlessly. However, smart technology also allows different devices to communicate with each other and makes users’ lives more flexible and portable as a result. We can now record a TV show from our phone while at work, or set our phone to remind us – as we arrive home – to take the rubbish out using GPS reminders.

Smart technology sits within a larger digital ecosystem where information is transferred instantly and gathered automatically - giving the service provider additional information about the user’s habits. It is plausible that in the near future such information will be intercepted by a smart machine and acted upon accordingly – planning routines; sending reminders; and even managing the many of the activities for you on a daily basis. Chores such as the shopping or mowing the lawn may soon be automatic or controlled from a mobile phone. The capacity therefore exists to build sustainability into that process, and direct user behaviour in line with it. Given that mobile phone apps are able to connect online to just about any other product, the smart phone is key to unlocking the potential of smart this technology, and thus the focus of efforts to change user habits around those products.Unfortunately many of the appliances that use water within the home, such as washing machines and dishwashers, are long-term

investments that have thus not incorporated recent technology. The lower turnover of appliances means that fewer are smart technology compatible; consequently, this has led to a slow uptake of smart technology within these fields. It has also reduced implementation of more sustainable products. However, all such products possess enormous potential for becoming more sustainable through retrofitting. The incorporation of smart technology to improve into the these devices can also change user habits. Retro fitting is the practical way to do this.

Retrofitting is the addition of new technology to older systems. It has economic benefits (from not needing to update existing systems), and users get to experience the latest technology without purchasing a new product. With technological innovations now moving at an exponential rate and customers not wishing to continually update, retrofitting helps to bridge the gap between past products and developing technology. It also often extends the life of the product beyond what was expected (by giving it new and updated functionality), reducing the number of products going to landfill as a result. Furthermore, it is possible to give the product environmental benefits in the usage phase by updating its functionality. By combining the benefits of sustainable behaviour change theory with the retrofitting of smart technology, it is conceivable that we can reduce the environmental impact of certain activities without the need for purchasing new products at all.

The goal of changing the behaviour of consumers is gaining momentum as a way of fostering sustainability. In recent times it has become widely accepted that people do not intentionally wish to harm the environment and are innately motivated to be sustainable (Glasser, 2007). However it is also human nature to often take the easy option, and this has long been a roadblock to a widespread adoption of sustainable practices – especially within the home, where actions are private and not scrutinized as they might be in industry. Even knowing that being unsustainable in the home is more expensive due to increased amenities bills, the concept of “being sustainable” is still seen as too hard for many people. In line with this, Fogg (2009) identifies three main factors that must be present for a behaviour to occur: trigger, motivation and ability. In the case of a change to sustainable behaviour, it can be argued that ability is the missing link. Many people consider the change to “being sustainable” too hard to undertake.

SeeChange addresses this perception, giving the user the ability to be more sustainable, by making sustainable actions easier to do, easier to monitor and easier to continue to change their habits. It is important to note that SeeChange is about creating what are called green paths, which look to create new positive habits and activities, as opposed to grey paths, which aim to stop a negative behaviour. Green paths have been shown to be more beneficial in creating new, long-lasting behavioural patterns (Fogg, 2009). One way to engage a user in creating green paths is to allow them to have control over their experience. In turn they then become more engaged and more likely to continue these new paths (Fogg, 2009).

// Creating Change

//SeeChange.. (gives) ...the user the ability to be more sustainable, by making sustainable actions easier to do, easier to monitor and it easier to continue to change their habits.

// SeeChange

However SeeChange takes the approach of creating a new product that is accessible to the majority and helps each user make continual incremental reduction of their ecological footprint – with the combination of each user’s individual conservation resulting in a large environmental impact for the community. This cumulative environmental change is something that can be visualized by the user in order to foster greater engagement and motivation to continue to improve their impact. For example, on average, each of the 1,533,100 households in Melbourne consumes 328,500 litres of water per year (Melbourne Water, 2012). If 25% of these households reduced their water consumption by just 5% then that would save over 6 billion litres of water a year – enough to fill an Olympic swimming pool 120 times, or produce 90 million apples.

SeeChange is a smart Product Service System that utilizes this combination of methodologies to create sustainable behaviour change within the home. By using the platform of smart technology to implement behaviour change theory, along with a retro fitted monitoring device, the user is able to change and observe the continued environmental impact of one or more of their appliances. This information can then be viewed on smart devices, allowing the user access to their appliances’ performance at all times, and consequently increasing their engagement with the whole process. Retrofitting of the monitoring device removes the need for a new appliance and allows monitoring to be employed in a number of different applications, with the device becoming a multi-purpose monitoring product.

The SeeChange system is designed to be a consumer product available to a wider marketplace. The device, InSight, is positioned to be sold in stores and online, with the accompanying app needed to use it being sold on the App Store for IOS devices, or Google Play for Android devices. Often in the sustainable research environment there is a push for a solution that is completely sustainable with no environmental impact, and there is potential for SeeChange to be perceived as adding to the consumerist cycle.

+ =

1

5

4

6

3

2

1 - InSight Monitoring Device

2 - Flow Meter Sensor

3 - Washing Machine

4 - Washing Machine Water Hose

5 - Cold Water Tap

6 - Washing Machine Power Cable

//Retrofitting of the monitoring device removes the need for new appliances...

//Tools such as Reminders and Planners ensure that the trigger to be sustainable is always present; the ability to customize how the system is being used plays a key role in engaging the user and keeping them motivated.

Much of society may be unaware of the best ways to reduce their carbon footprint or their water consumption; with SeeChange this information and the ability to put it into practice will be made clearly available. Along with the smart ability to monitor and view their resource consumption, the SeeChange system also provides tools to help change consumption patterns over a period of time. The combination of these aspects of the system increase the user’s ability to make sustainable change, as well as continuing to trigger this behaviour and keep the user motivated.

Tools such as Reminders and Planners ensure that the trigger to be sustainable is always present; the ability to customize how the system is being used plays a key role in engaging the user and keeping them motivated. After the installation of the product the predominant user interaction comes via the SeeChange App and this is where all of these tools are presented. The SeeChange app can be accessed on a number of different levels providing great flexibility in how it can be utilised. This is in line with the wide cross-section of users that could access and benefit from the system. Sustainability is not something that is gender, age, or class specific, and it needs to be addressed across the population for any sizable community impact to be made.

// Get Motivated

The smart phone app was created with levels of use in built, aiming to fulfil the needs of differing tiers of user. Each user must be able to engage with the system at the level they require without feeling burdened by the needs of other users. These levels of use are catered to accordingly - a customizable home screen enables the user to select the parts of the app they feel most fits their needs at a glance. There are, however, locked tabs that identify the user’s Environmental Change and Economic Savings; these functions have been identified as the main drivers of the system and are hence given priority. This level of interaction is aimed towards those lacking depth in their desire to be sustainable, or users with little technical knowledge (such as the elderly); it provides the basic information and allows them to monitor their habits without much effort.

At the bottom of the home screen there are a variety of menus that allow the user to view the data collected from their InSight devices; view their devices and set new devices up; and use in built tools in the app. This level of interaction is designed to satisfy those with a level of interest that requires more than basic figures, or those who have a good grasp of technology and the benefits that tools within the app can have. Within the Tools section there is an opportunity to add more tools to the app to help develop sustainable change. These are tools that are yet to be created and it is envisaged that this part of the app would be produced under a creative commons approach, giving high level users the ability to create new and innovative tools that others could use. Allowing the part of the system that helps further change to be open source may improve the reach and impact of the system exponentially.

// Smart For All

Over the course of prototyping and developing the InSight Device and SeeChange smart phone app, it became apparent that the use of the system may not be restricted to the monitoring of water-based domestic applications. The process and method applied to record and use the information gained by the device can be used for other applications with the addition of some alternative sensors to gain different data streams.

There are other applications within the home that have the same potential to become more efficient in how they are used, such as light levels or temperature levels. There is also the possibility to provide proactive parts to the device that take actions based upon the information gathered. The retrofitted nature of InSight allows for implementation of the device in many geographical locations without the need to make any changes to the area, and this has huge benefits in the flexibility of where and how it can be adopted.

A selection of screen shots from the SeeChange iPhone app.

The SeeChange system has been developed as a way to promote the sustainable use of water and energy consuming appliances within the home, using the methodologies of behaviour change theory and smart technology. Targeting a wide range of consumers, it aims to give each user the ability to make incremental changes to their usage patterns, which will in turn accumulate into a significant environmental impact for the wider community. Moving forward, there are a variety of applications to which the SeeChange system could be applied, with the possibility of implementing a completely smart retrofit system to the home. One of the potential future opportunities is to take it to market as a smart plug-and-play sustainability system to help reduce amenity bills for homeowners. One possible way to do this would be to utilise the current trend of crowd funding on websites such as Pozible and Kickstarter. These platforms often perform best when products are presented with a background story and a strong key element that consumers can see themselves using, making SeeChange a chance to succeed.

An alternative and more traditional route to marketing SeeChange would involve approaching manufacturers and investors to get funding to develop the project further. It should be noted that in order for the project to be taken to market it would require more substantial testing and development on electrical engineering aspects. Nevertheless, the economic and environmental benefits resulting from the wide application of the SeeChange system could be enormous – both for individual consumers and society as a whole. Incorporating Smart Technology in reflection of global trends and behavioural patterns only encourages the relevance that product service systems such as SeeChange will have in changing behaviours to promote sustainability into the future.

// Conclusion //...the economic and environmental benefits resulting from the wide application of the SeeChange system could be enormous – both for individual consumers and society as a whole.

The SeeChange InSight monitoring device prototype 3.0 with a flw meter sensor.

Save Water Target 155. Your Water, (June, 2012) Retrieved from http:// target155.org.au/Target155/Your_Water.html

Waterwise Queensland. Being waterwise in the bathroon, kitchen, and laundry, (2012). Retrieved from http://www.derm.qld.gov.au/ waterwise/councils_program/pdf/bath_laund_kitch_info.pdf

Australian National Water Commission. (2012). Retrieved from http:// www.melbournewater.com.au/content/water_conservation/ water_use/water_use.asp?bhcp=1

Brisbane City Council. Waterwise, (2010). Retrieved from http://www. thisplace.com.au/eco/tt_waterusage.htm

Glasser, H. (2007). Minding the gap: The role of social learning in linking our stated desire for a more sustainable world to our everyday actions and policies. Social learning towards a sustainable world. Wageningen: Wageningen Academic Publishers, 35-62.

Lattermann, S., & Hopner, T. (2008). Environmentalimpact and impact assessment of seawater desalination. European Desalination Society and Center for Research and Technology Hellas, 220 (1), 1-15.

Melbourne Water. Water Use, (2012). Retrieved from http://www. melbournewater.com.au/content/water_conservation/water_ use/water_use.asp?bhcp=1

Sartore G, Kelly B, Stain HJ, Albrecht G, Higginbotham N. Control, uncertainty, and expectations for the future: a qualitative study of the impact of drought on a rural Australian community. Rura l and Remote Health 8: 950. (Online) 2008.

// Bibliography

EK TECK SU / HUMAN-POWERED PARTICIPATORY PLAY

List of keywordsParticipation, sustainable energy, human-powered, play.

AbstractThis project proposes human-powered participatory devices that encourage engagement in issues of sustainability in a community festival setting. The project explores how people may experience sharing, playfulness, social interaction and sustainability knowledge through games being played. By bringing people together in fun ways, participants are exposed to simple educational examples and creative ideas about sustainable energy at a human scale.

Ek Teck Su

// Human-Powered Participatory Play

//

knowledge in the future. The audience will have learnt about energy and power through exercise, while relating to other people and having fun with each other.

PLAY

Human Powered

CommunityUsers

Sustainable Knowledge

<Dean, T 2008, The human-powered home: Choosing muscles over motors, New Society Publishers, Gabriola Island, BC, Canada. ><Fry, T 2009, Design futuring: Sustainability, ethics, and new practice, Berg publishers, Oxford. >

//“it celebrates self-suffi-ciency and human inge-nuity, and is an inspira-tion to anyone trying to cut down on the use of earth’s more precious resources.”

— Trevor Baylis, inven-tor of the Clockwork radio and founder of Trevor Baylis Brands

This project explores how people may learn about sustainable energy through direct, human-scale experiences with their own body and energy generation. The project has aimed to develop and design interactive energy devices that are useful in prompting participatory play between people. Through participating in play, it is hoped that people may be inspired to engage in creative ideas about sustainable energy, environmental knowledge, and sustainable technologies. A community festival has provided a trial setting in which to test the public reaction to a collection of interactive energy devices, and explore how playful interaction with the devices could stimulate community participation in discussing and making changes toward increasingly sustainable lifestyles.

Numerous human-powered devices have been developed and explored, each device generating energy through a variety of human movements. Human-powered energy is a very old, practical and empowering alternative to fossil-fuel-generated energy. It is a green technology employing the movement of human bodies to generate power in differing ways. The history of human-powered devices is a collection of information on pedal-powered, hand-cranked devices for use in and around the home or off the grid as needed. Use of human powered technologies could increase the amount of energy that one person can practically generate. The advantages to people in generating sustainable energy from human powered devices include improved health and fitness (Dean, T 2008).

It is hoped that the proposed human-powered interactive devices will encourage community festival organisers to explore whether such festivals are themselves sustainable, and promote community-based change toward sustainable living. I have a vision that human-powered games might change people’s thinking and behaviour toward sustainable living and environmentally friendly lifestyles, providing a basic form of renewable-energy education that is simple and persuasive in changing people’s lives. A human-powered festival might bring people toward sustainable

// 1. Introduction: Learning about sustainable energy through play, participation and human power

//‘This festival is not just about saving the future. This is the future.’ -Jonathan Donahue (CO2PENHAGEN)

//“lead the world leaders towards a sus-tainable future. With this festival you have demonstrated how even in every-day life we can do something to help the environment – even while having fun, “said Ambassador Laurie S. Fulton. (CO2PENHAGEN,2012)

Human activity is widely understood to be contributing to climate change. Greenhouse gas emissions from energy consumption are one of the greatest causes of climate change. Developing sustainable forms of energy may allow societies to replace coal, oil and nuclear electricity generation in the future.

In their article Sustainable every day: scenarios, visions, possible worlds, Ezio Manzini and Francois Jegou (2003) describe how design projects can contribute to a sustainable future. We need to move to renewable energy technologies and alternative energy sources, embracing innovative and low carbon technologies, of which human-powered technologies are examples.

The “Co2penhagen” festival, first held in 2009, claims to be the first zero emis-sion CO2 carbon neutral festival. The festival involves the community in sus-tainable thinking and attempts to encourage people to change the world. This festival has developed different practices to reduce its energy consump-tion and make itself energy efficient. Green technologies that support the festival include: • TheStirlingengine–arenewableenergysourcethatoperatesbycyclic compression and expansion of air and gas, by using the surplus heat generated by one process for a useful purpose in another.

• TheVikinggasifier–producingelectricity fromwoodchipsusingan unmanned, automated and essentially tar-free gasifier plant with an in-tegrated gas engine for heat and electricity production based on the two-stage fixed-bed gasification process.

• Arapeseedoilgenerator–ageneratorwhichrunsonwasteveg-etable oil, organic oil or common diesel fuel to produce energy as a backup system for solar and wind power plants and electric charging stations.

• Bicycles generators – generating energy as needed by humanmovement through human body interaction.

• Solarpanels–acleanandcost-effectivewaytogeneraterenew-able electricity from heat and sun.

Green energy provides most of the power to the Co2pengagen festival; its energy consumption was reduced by half by using green technolo-gies. The festival provides a leading example of different methods that can provide off-the-grid, cheap, carbon-neutral energy (Co2penhagen, 2012).

<A Greener Festival 2011, Green Events 7 Innovation, <http://www.agreenerfestival .com><CO2penHagen 2012, The World’s first CO2-neutral festival, <http://www. Co2penhagen.com><Fry, T 2009, Design futuring: Sustainability, ethics, and new practice, Berg publishers, Oxford.><G.Tyler Miller, Scoott E. Spoolman .(2009). Living in the environment ,Brook/Cole, Cengage Learning>

// 2. Context: Sustainability, energy and festivals

Human-powered technologies have existed throughout the ages. These technologies involve the physics and physiology of human power and reveal how many watts of energy one person can practically generate. Many exist-ing technologies have the potential to produce zero emissions while being fun to interact with, such as pedal-powered blenders, cinema and torch light. Most of these technologies typically involve rotation in one direction.

<A Greener Festival 2011, Green Events 7 Innovation, <http://www.agreenerfestival .com><Dean, T 2008, The human-powered home: Choosing muscles over motors, New Society Publishers, Gabriola Island, BC, Canada. ><ElectricPedals,2012, The Art of Pedal Power, <http://electricpedals.com/>

// 3. Human-powered Technologies

<Soundeffect>– <LightEffect>–

<Light Effect By Human Blowing >

<LightEffectFromObjectonastring>–

<Lighteffectfromstringsonthebody>–

This project has investigated simple human-powered devices that can be played and interacted with in unusual and interesting ways. Throughexperimentation, two different themes have been identified, such as light effect and sound effect. Through encouraging playful experiments in human-powered energy, the project aims to lead people to understand sustainable energy and inspire thoughts and motions to create energy. The experiments have explored devices that produce surprising power and effects through being played:

• SoundEffect–thisexperimentexploredhand-crankeddevicesthatconnect to electronically recorded sound effects by being played. Rotate the device and it produces sound in return.• HumanMovement–thisexperimentexploredhumanmovementas different ways to generate power: hand-cranked, human-breathed, pulled, slided, pedalled.• LightEffect–thisexperimentexploreddifferentwaystoplaywithlighting effects and to create a simple light effect though human-powered technologies. • LightEffectbyhumanblowing–thisexperimentexploredasmallwind turbine, using the force of people’s breath to run the blades and generate electricity.

• Lighteffectfromobjectonastring–thisexperimentusedtheforceof people’s pulling to run the object and generate electricity. By pulling the object along the string to the end, it will produce surprising light effects.

• Lighteffectfromstringsonthebody–thisexperimentattachedanobject and string to the body to produce a light effect. The object will detect movement and will create a light effect through whole body.

• Playasmotivationandmethod–thisexperimentledpeopletocreate bodily movement by attaching a light to their own body.

// 4. Method: experimenting and playing with energy generatingtechnologies, interaction and effects

<Humanpoweredinteraction>–

<Flexion ><Abbuction> <Abduction>

<BodyinteractionMovement>–

<Variationmovement>–

<Variousoptionbodyattachment>–

<LightPerformance>–

This Project engages people in environmental education in renewable energy by creating interactive aesthetic objects that use human movement to create energy that is directly converted into light whilst playing.

Human-powered energy play-tools can increase people’s sustainable-energy knowledge and might change people’s behaviour and understanding toward sustainable living by more actively choosing renewable energy. By participating in or observing playful performance, people may learn about energy, power, exercise and fun relations to other people. The project engages people in environmental education though their own movement, and creates social bonds between people through games being played.

// 5. The Project Proposition: Human-powered energy plays tools

The human-powered lighting effects of the play tools will be useful in guiding studies of sustainable energy produced by moving human bodies in various environments. These tools could contribute to inspiring design to support future green environments. The “light bottle” tool could be useful in educational contexts. These human-powered devices can inspire social connectedness in mediated interactions. Further development of the project could explore embodied energy

generation and effects involving direct interaction between movement, momentum experiences, and light interfaces. This project provides a new language for designers/researchers to think and talk about sustainable. It may help designers to identify opportunities for future environmental technology systems and support designers in creating new play tools and games that enable us to learn about sustainable energy. Through festivals these play tools could spread a sustainability message that playfully seeks solutions to the ecological and social challenges we face.

This project has explored ways to make simple examples of sustainable-energy technologies accessible to people, to enable people to help one another in creating a sustainable future. The development of the project has presented a case study of how playful experimentation can be used to support the ideation, elaboration and interaction with human-powered technologies. By encouraging people to play with and understand sustainable energy, the project shares ideas and experiences with the larger community working toward sustainable lifestyles.

// 6. Conclusion

The extraordinary quality of the use of play tools is that they offer non-goal-oriented ways to structure playful engagement between people around sustainable energy. Although our agenda is focused on sustainable energy, use of the human body helps us to see other possible human-powered forms of energy. For instance, in human-powered cinema, the number of people involved in generating power directly related to the amount of energy produced. And a view of human-powered lighting effects might also reveal insights into the design of interactive devices that support exercising bodies, such as human-powered bike activity, human-powered cinema and a (human-powered) gym machine.

BRYCE TAYLEUR / INFREQUENCIES

InFrequencies is a student driven project that aims to increase the awareness and access to appropriate services around hearing loss prevention and correction. Through an iPad application coupled with a mobile kiosk, this project takes a product service system approach in order to capture an audience who may not consider themselves at risk to hearing loss, and connect them to appropriate services or information through ongoing engagement through the application.

This project has been developed to respond to suggestions that only twenty percent of people who could benefit from hearing aids actually use them. My project aims to address the other eighty percent, reducing its size through both connecting potential users to hearing aid services and by implementing prevention techniques to reduce the onset of hearing loss.

Bryce Tayleur

// InFrequencies Reaching out to the other 80 per cent

//

I came into this social and sustainable space with a desire to design in a way that could facilitate a positive change. This may seem like a slightly naïve comment, however this notion of “making change” came about after I realised that much of my university experience had involved simply creating more “stuff”. It was while I was searching for a greater purpose within my studies, and indeed my own place within the greater spectrum that is industrial design, that I came across the notion of social innovation.

During my investigations I stumbled across a book that captured my imagination and reinvigorated my passion for industrial design. Design for the Other 90%, a catalogue text published alongside an exhibition of the same name, contained an kaleidoscope of design innovations that addressed the basic challenges of survival and progress faced by people living in third world countries. To me it was design at its purist, totally user-centred and embedded with greater implications than simply the result of the design’s intended function.

I explored the potential of similar design approaches applied in social innovation, such as designing a product-service-system, user-centred design and design for sustainability. I then turned my focus towards how these methodologies could be applied in a local setting by exploring significant quality of life issues experienced within discrete Indigenous communities here in Australia. Through my research I discovered the similarities between people living in these communities and those living in Third World countries, with comparisons made in areas such as health, housing conditions, education, and employment rates.

My intention coming into this studio was to address a health issue within a particular Indigenous community through a design project. Throughout my research into social innovation, I had identified that the flow on affects of most of the projects relating to health had significant impacts to users’ lives in areas of education, employment and overall living standards. The health issue I decided to tackle was hearing loss,

which affects a significant proportion of the Indigenous community, holding many back from education and employment opportunities. After spending months researching and networking within this Indigenous design space, I finally had to concede that this was potentially a project that was not achievable in the given time frame. Recognising this, I stepped back and decided to address the overall issue of hearing loss.

Smith, Cynthia E. 2007, Design for the Other 90%, Cooper-Hewitt, New York

Image: Change Makers, 2010, Silver Glasses: liquid-injected lenses for a billion of the world’s poor, viewed 23/4/2012 from http://dvice.com/pics/Josh-Silver-Silver-glasses-zulu.jpg

// ESTABLISHING CONTEXT

//Throughout my research into social innovation, I had identified that the flow on affects of most of the projects relating to health had significant impacts to users’ lives in areas of education, employment and overall living standards

My research into the greater issue of hearing loss began with a pa-per written by Brent Edwards, which proposed that only twenty per-cent of people who potentially need hearing aids actually use them [1]. This led me to my identified gap, and to ask “what bout the other eighty percent?” I began with some reflection on how I had researched in the past, and how I intended to implement a range of service design techniques and research methodologies within my project. Within this section of the design phase, I had to identify three key aspects of my project; my agenda, my approach, and my artefact.

My agenda was to tap into this market’s smaller sub-groups to help improve access and encourage use of hearing aid devices, as well as promote prevention techniques. I wanted my artefact to be something that I could potentially use to engage the community and complete user testing to evaluate potential measurable impact. What I still wasn’t sure about at this stage was how I would approach this as a design project.

I also separated my research into three aspects; research about design, research for design, and research through design. Research about design included my initial explorations into how hearing works, the role of the audiologist and audiograms, and range of hearing aid products that are potentially available to users. My research for design involved the examination of which factors potentially inhibit hearing aid use, which people already would access hearing aids, what sound lev-els are appropriate for humans to hear and how long we can do so for before it is harmful to our hearing. Finally, my research through design involved constructing an electrical prototype of a sound-amplifying de-vice in a bid to explore my potential of recreating a hearing aid like device.

While my research investigations proved valuable, my direction at this stage wasn’t clear, as my options in this field seemed limitless. On the conclusion of my pre-major, I had gathered a great deal of knowl-edge and exposure to hearing loss issues, and I felt I was finally able to implement this into a design project.

Edwards, Brent 2005, The Future of Hearing Aids, viewed on 5/5/2012 from http://brent.edwards.name/Papers/Brent%20Edwards--Future%20Hearing%20Aid%20Technology.pdf

// LISTENING IN

With an insight into the world of hearing loss, I needed to focus my attention onto delivering a clear and concise design project. With some initial review of my research, my skills and some personal goals, I began to propose and critique design projects that would encourage the use of hearing aids or encourage the prevention of hearing loss. The concept I decided on was a combination of a few ideas; a smart phone application that could conduct hearing checks and provide prevention techniques, a mobile pre-screening services that would act as a way to actively engage the greater public on issues of hearing, and further propositional ideas that could potentially be extensions of the initial app.

The application is intended to be the first touch point of this service, and will be a way into the overall system. The app can be operated in the user’s home or in their own spare time, but lacks the assistance of an actual person and the reassurance that comes with that.

The mobile engagement system will be mounted on a Christiania bicycle, and essentially acts as a mobile kiosk. Similar to a cargo bike, this will give appropriate transportation of this service, allowing for a pop-up style counter to engage the public in a particular setting. This bike system will enable facilitation of the app and its subsequent features. The advantage of the mobile testing facility is to engage users who wouldn’t typically go out of their way to have their hearing tested, or be connected to the services they may need. Finally, after engagement with either of or both the application and/or the bike system, users will be directed to appropriate services which may include hearing prevention techniques or professional audiological consultation.

// FRAMING THE PROJECT

The system which I am entering involves a number of stakeholders potentially working towards the same cause, but not in a cohesive and constructive manner. The overall “hearing” system consists of audiologists, hearing aid manufacturers, and potential users. My understanding of this system from the outside was that there is potentially so much information that is directed at the user, causing many individuals to experience information overload and reject entering the system. My approach towards connecting people to this overall system is to deliver them with the right information rather than all the information, achieving this through a personalised application scenario.

The service I aim to provide is essentially a pre-screening service for audiologists. Instead of relying on the user - who may wait until they notice significant hearing loss in their own hearing or that of a person close to them - to seek assistance, my service actively engages the community to raise awareness on hearing loss prevention and correction. Shifting the cost of this service from the user to an alternative source, such as audiologists or larger institutions, eliminates one of the major barriers to this system. Also, presenting this service in a public setting aims to encourage spontaneous use in a fun and engaging way, which intends to break down the stigma barrier that is often also associated with this system. With the mobile kiosk being operated by a trained attendant, usability issues can be voiced directly to a real person, while data collection may help audiologists discover more about the daily lives of their patients and tailor hearing aids to suit thee needs.

// SYSTEM SERVICE PRODUCTS //My approach towards connecting people to this overall system is to deliver them with the right information rather than all the information, achieving this through a personalised application scenario

The first touch-point is of course the application itself, and more importantly the hearing check that it can conduct. This hearing check, although not medically accurate, will provide an indication towards the user’s current hearing levels and determine which type of information that is best suited to them. In order to develop this app effectively, I out-sourced technical assistance of an IT professional, James Bertschik. Working collaboratively with James allowed for an amalgamation of design thinking and computational practicality. Together we explored the features of the app through paper prototyping, predicting user interactions and exploring graphical interpretations of information to

present to the user. James and I also visited Vicdeaf together, pitching the project’s idea to their community outreach leader, and proposing how the project could help them to collect data and deliver services more efficiently, which was well received.

The second touch-point is the mobile kiosk, which is essentially a physical way to deliver the service and engage people who may not otherwise interact with it. Mounted on a Christiania bicycle, I intend this kiosk to be transported around Melbourne to iconic locations such as the MCG or Federation Square in order to engage the general public. It may also be possible to lease this kiosk to larger institutions such as

universities or businesses, offering this services in order to increase productivity and employee/student well being.

I have created a design that allows a set of iPads to sit within the structure of the kiosk, coupled with quality headphones to allow user interaction. For those waiting to use the iPads, graphical information has been supplied to highlight why this service is important and how individuals may be at risk of hearing loss in their everyday lives. Finally, a relevant QR code is available for those who are on the move, and want to access this application later on.

While I have created the structure of the service and prototyped the touch-points to enable this service, I have not yet conducted intensive user testing. Partly due to the stages of the app’s development, and pending possible partnerships with hearing organisation, limited user testing can be analysed of the application and the mobile kiosk in unison. However, even without this user testing, I am receiving positive feedback that this service and its intended delivery is something that would work within the current system.

With consideration to how this service is to be implemented, there is reasonable suggestion that InFrequencies could become a social enterprise. Social enterprises exist to apply commercial strategy to maximise positive improvements for humanity and environmental outcomes, rather than maximise profits for external shareholders. A part of this service’s intention is to minimise or eliminate the cost barrier to the hearing loss system. A way to do this is to redirect costs away from the user by supplying this service, which is significantly less of a financial commitment to the user, and subsidies its construction and operation through listing audiologists a small fee. This fee would also be significantly less of a burden on service providers, but still give them access to potential patients. Options other than this listing fee could include advertisement, direct alignment with an institution (who would subsidise) or potentially making the application purchasable.

While this is the conclusion of my industrial design honours project, it is only really the beginning of my involvement with trying to spread hearing loss awareness through the project that is InFrequencies. With interest from a number of hearing organisations, I see this as a project I must follow up and try to implement with the backing of one of these organisations. I would also like to continue to work with James Bertschik in developing the application to extend its uniqueness and create more tools that can be used to raise awareness on hearing loss prevention and correction.

In the interest of coming full circle, something I would love for this project to eventually do is to be implemented within Indigenous schools, hired by the department of education to be a fun and engaging touch-point for Indigenous children to monitor their hearing. This may be the service that collects the required data that is needed to drive change, as well as providing much needed information to these users. Eventually, this project may be able turn around the current hearing loss situation within Indigenous communities, as I had originally set off to do.

// FUTURE SOCIAL ENTERPRISE

//Eventually, this project may be able turn around the current hearing loss situation within Indigenous communities, as I had originally set off to do.

BOLAJI TENIOLA / WALLEON

FOOTMEASUREMENT

SHOEDESIGN

SHOECONSTRUCTION

LASTPRODUCTION

PATTERNMAKING

WaffleON is a socially sustainable student lead project focused upon encouraging the people of Melbourne to take up the art of hand making footwear. It provides people with an opportunity to do so via an instructional kit, which shows participants ways of re-purposing textile waste material to do so.

The project came about due to an appreciation of the importance of footwear within modern society as well as a fervent desire to address the wastefulness of current manufacturing techniques used to produce footwear.

// WaffleON Explorations in handmade footwear

//Bolaji Teniola

//Melbourne boasts a rich tradition of cob-blers

Beginning with a need to address excess waste material, a connection was made between the fashion industry and the decline of available material needed for making footwear using traditional handcrafted techniques. Repurposing material that would otherwise go to waste was important for the success of the project because the textile materials destined to become footwear were in some cases, those that are not normally used for footwear.

Melbourne boasts a rich tradition of cobblers but as manufacturing of footwear slowly moved overseas where production costs and labour are cheaper, the number of cobblers within Melbourne decreased.

Contributing factors to this phenomenon include the inaccessibility of locally sourced materials as well as the difficulties involved with establishing and maintaining a successful footwear making business.However, if interest in bespoke footwear making could be boosted, there might be an opportunity to add to Australia’s economy while assisting with the retention of material supply companies otherwise looking to move overseas.

Growing interest in footwear production is evident in Melbourne based shoemaking courses, enabling ways for the WaffleON© project to exist within Melbourne’s booming craft community. The project promotes an ideal of shoe making enthusiasts, aficionados and the wider community producing WaffleON© designed footwear using remnant material, such as old clothing, whilst following the patterns and instruction guides provided in the kit.

Footwear making classes were undertaken at the beginning of the year because without an understanding of the traditional methods of hand making footwear there is no foundation to build upon. These classes suggested ways to develop a new stream of low impact manufacturing that would not only benefit people but also their environment.Whilst making, it became evident that bespoke footwear making follows a step by step process which could be emulated across the various forms of footwear produced. If it was possible for a beginner such as myself to take on the task of hand making footwear, then there is no reason to believe that others wouldn’t be able to partake in this activity.

// WHAT SPARKED MY INTEREST?

The footwear making kit produced will act as a stepping stone into the major bespoke footwear making scene and as interest spreads to wider communities, the interest from the suppliers and manufacturers of components needed to make will grow and the competitiveness between shoemakers in the marketplace will improve skill levels and could possibly turn Melbourne into a shoemaking hub.

The kit will give participants a simple step-by-step instructional booklet along with the basic tools required for making footwear.It is hoped that working through the kit will spark a strong interest within the participant, pushing them to learn more about the processes involved and undertake larger tasks or shoemaking classes. In addition, although each participant will be following one of only two possible shoemaking instructions, none of the shoes will be the same. Along with the fact that the material to produce the upper of the shoe will be the choice of the participant as handmade products are never 100% the same as human error alters the result of the finished product regardless of any similarity in design.

Besides the use of old or remnant textiles material, what makes the WaffleON project sustainable is the fact that hand making footwear itself is sustainable because it involves careful consideration of material usage and sourcing.

For example bunching, the process of carefully grouping and tracing patterns close together before cutting them may be used to reduce material wastage. Participants of the project may do this instinctively but others may learn through doing as they become aware of the waste material being produced.

The thought of using waste textile materials to produce handmade

footwear was something that sprouted from discussions with another student about the use and production of adhesives.

// THE PROPOSITION

//hand making footwearitself is sustainablebecause it involvescareful considerationof material usage andsourcing.

// ADHESION

The discussions helped me realise that it could be possible to develop footwear based upon the idea of using non-footwear specific material. What preceded this eureka moment was the idea of developing footwear from socks that were treated by some kind of adhesive making them less susceptible to wear and tear.

Although the idea of using socks as outdoor footwear was not pursued, the notions of using organic adhesives to not only construct the shoes but to strengthen them was seen as an opportunity to incorporate the previously stated non-footwear specific material.

The use of organic adhesives not only enhanced the sustainable aspects of the project but boosted user engagement as the adhesives can be produced at home with a simple step by step instruction guide. Through selective research and testing the seemingly endless abilities of wheat paste and rice glue became apparent, they not only adhere to material with the strength required for regular use of footwear, but also contain properties that render them harmless to the user of such adhesives.

To test the strength of both types of adhesive and their ability to withstand the temperature changes and humidity of daily or regular use, durability tests were developed which involved applying each adhesive to pieces of cotton, which were then placed within shoes that experience regular use. The test commenced at the later stages of August and concluded mid September with surprising results. Although the time span of the test was relatively short the adhesives were able to stand up to the pressures of daily use and handled the humidity, friction and movement just fine.

However the durability of the wheat paste was not as surprising as that

of the rice glue; wheat paste is generally used as glue to paste up paper based art or posters on the exterior of walls in open spaces that are constantly exposed to rain, sunlight, temperature fluctuations and degradation. In these conditions the wheat paste acts as a protective coating to the paper based image and it is common for these paste ups to have a lifespan of one and a half or more years.

Rice glue is a non-toxic adhesive used for galvanizing paper based items together and even though it dries slowly it possesses the strength needed to adhere materials used for the sole of footwear. As the soles are sewn together, the adhesive would act as a last line of defence against the premature de-soling of the footwear.

Hand making footwear has been around for centuries, but in order to meet increased demand for footwear owning, to the advent of the market, the production processes of all consumer products were mechanised.

The mechanisation of manufacturing brought great changes and increased opportunities as it decreased the time and effort required by the making process, however it did bring with it a lot of negatives such as labour issues and pollution.

Within the current footwear industry there is a level of craft required to produce footwear but this of course has been industrialised with the aid of heavy machinery in order to meet the demand of the market. Although particular brands such as Pointer depend upon a hand crafted production process for their footwear, workers still use machinery that exposes them to harmful carcinogens along with the toxins found in many of the industrial strength adhesives used.

The WaffleON project has a strong emphasis on low impact manufacturing, with an aim to eliminate the need for heavy machinery and toxic adhesives. This would enable a wider audience to participate in the shoemaking process as each designed shoe can be assembled with minimal tools and processes.

Minimization of the material used to produce footwear has been spurred on by the development of the Visvim shoe range. Although Visvim uses a mechanised manufacturing process it is still able to produce footwear with a level of quality and sophistication that implies handcrafted quality, as well as suggesting that the consumer has created the form of the shoe. Furthermore the minimal use of material combined with the lack of structure equals a level of comfort that is normally achieved only once a shoe has been worn in.

1The marketing and production techniques employed during the 1960’s by the then upstart brand Vans provides an example of skewing perceptions of what denotes a bespoke item or process.

Customers were invited to supply their own material which would be used to produce a Vans shoe.Although each shoe followed the same patterns, the fact that the shoe was made using material supplied by the consumer meant that only that particular consumer would have a Vans shoe in that particular material, colour and style. You could argue that this is merely a form of customisation rather than bespoke production, but as each shoe was a one-off and the scale was limited to local production, elements of bespoke production were there.

Footwear that was made for customers using their own material meant that the manufacturer did not have to source or pay for material. In addition shoes that were seen as exceptionally unique were put into low run production.Encouraging consumers to provide the manufacturer with their own material built consumer engagement with the Vans brand, helping to boost interest within the Californian community in which they were based and helping them to grow into a well known, global entity.

The WaffleON project employs this method of production, encouraging participants to make use of waste textile material which may come in the form of old clothing.With the aid of the instruction guide, handmade footwear could be produced from materials that otherwise may have ended up in landfill or lay dormant within the confines of the closet space. The

1 Sneaker Freaker Feature, http://www.sneakerfreaker.com/feature/history-of-vans/date viewed: 3/09/2012

// THE BUSINESS

SHOE DESIGN:In order to emphasise the ease with which participants would be able to make footwear I had to carefully think about how to design a shoe that was not only visually appealing but could also be made by beginners. However, as not all participants would have the skills necessary to construct the footwear I settled for traditional designs with patterns that can be easily followed.

FOOT MEASUREMENTS:Obtaining correct foot measurements is a vital precursor to last selection and pattern making. The WaffleON project employs the use of an online platform as it is not possible to personally measure the feet of participants. Participants could also use either a simple tape measure or Brannock device.

LAST PRODUCTION:The type of last produced for the WaffleON project was a generic shape suited for athletic footwear and flat casual shoes, because a generic shape would suit varying foot sizes, shapes and rises in the arch.The manufacturing process also needed to be considered as each last could not be developed via the use of an automated lathe but rather a CNC (Computer Numerical Control), so it was imperative that the last be simplistic in design to ease the cutting process.

PATTERN MAKING:Pattern making is the most important process within shoe making as this is the DNA of the shoe itself. If the pattern has not been well thought out, measured and designed, it will have a negative effect on the rest of the shoe making. When producing the patterns I needed to consider how they would reduce material usage in order to make room for error. In a professional sense if material wastage were to occur this would result in having to spend more money on importing material which carries import taxes and custom fees.

// THE DESIGN //I had to carefully think about how to design a shoe that was not only visually appealing but could also be made by beginners

For many, the WaffleON website will be the first point of contact so it was imperative that the website be as simple as possible in order to ease the flow for viewers of the site. Each page easily links back to the home page and connects viewers to the next in its sequence.

The pages incorporated in the site include the ABOUT page, with an overview of the project; the INSTRUCTIONS page, where viewers can find the detailed instruction manual in sequential order for ease of use and viewing; the VIDEOS page where those having difficulties following the image based instructions provided in the kit can view detailed instructions on the site; the SHOWCASE page where viewers can get a glimpse of how the end result of the footwear could look. Participants are also encouraged to upload images of their own unique take on the shoe making process.

In addition, the SHOP and CONTACT page allows participants to contact WaffleON for further information, and the BLOG page links to an external blog where viewers can get an in-depth look at the behind the scenes process of the development of the WaffleON project.The minimal pages give the site a non confronting appearance, and the flexibility of the frame on which the site is built enables participants to view the site on varying screen sizes.

In conjunction to the website, there is also a physical kit as mentioned earlier, which can be obtained once the participant follows the procedures online.The contents of the kit had to be carefully considered as not all things could be packaged. As a way of minimising the components whilst maximizing space, the pattern which is normally the biggest part of the kit, was printed on the interior of the packaging itself.

// PUTTING IT ALL TO-GETHER

//WaffleON is a uniquetake on the topic ofbespoke footwear

The lasts were kept in their blocks because they not only give participants an opportunity to be a part of the last making stage of the process but the blocks themselves act as storage units for some of the components which have been individually packaged.When put together, the kit has enough visual appeal for it to be sold in a retail setting but also the strength to withstand shipping hassles as the material used is the same as that used for folios.

WaffleON is a socially sustainable student lead project focused upon encouraging the people of Melbourne to take up the art of hand making footwear. It provides people with an opportunity to do so via an instructional kit, which shows participants ways of repurposing textile waste material to do so.

From its conception, the project has taken a lot of twists and turns. Inspired by various proposals and historical ideals, WaffleON is a unique take on the topic of bespoke footwear, offering participants not only the opportunity to make their own footwear, but to also learn about what it takes to make footwear, the environmental issues involved. Most importantly, encouraging others to partake in shoe making can be seen as a way of preserving this art form.

MADE IN AUSTRALIA

www.waffleonproject.com

DENIM FROM OLD PAIR OF

EXCESSLEATHER

MATERIAL

LEATHERMATERIAL

EVAMATERIAL

CREPERUBBER

LINING FROM OLD SKIRT

RENSHAPELAST

WAXEDLEATHER LACES

GLENN STEPHENSON / ONE:FOUR

one:four – future urban mobility presents an additional alternative to our current commuter activities where a simple yet creative approach was born out of effect from a number of key influences throughout the year. Not content sourcing inspiration and influence from one pool fed by the Transport + Mobility stream, I sought further influence mid-year, changing stroke with what I believed would better support my developing directive. Beginning the final semester within the Social + Sustainable stream allowed for improved opportunity to associate with what I consider to be more positive and rewarding design, having greater relevance in an evolving environment where we face issues affecting the broader community.

// ONE:FOUR Future urban mobility

//Glenn Stephenson

//...it is not the car requiring re-design to better fit the environment, it is our relationships with them that requires direct attention

Being exposed to emerging technologies set to play a significant role in future vehicle/ user interactions was an exciting and influential time of the year. Comprehending mobile direction was theorised and obtained in light of these, seeking a blend of autonomy and social urban mobility, implementing cloud technology, smart infrastructure and vehicle communication as key operational aids within my vision of future mobility. It was however through these visions of retrofitted environments contrasted with increasing population, individual habits and the underlying sustainable approach to urban living – through which reality came knocking. As the most intelligent species on the planet, we design solutions to our problems, those solutions then become problems and when we should be looking at the root cause of these, we design more solutions. In Australia we currently have enough registered vehicles to transport 2.5 x our current population – that is over 50 million people! Therefor the direction taken can be based on this statement; it is not the car requiring re-design to better fit the environment, it is our relationships with them that requires direct attention. Backed by current issues surrounding CO2 emissions, congestion, population growth and mobile technology, the development of one:four matured.

It was said during the seminal weeks of the year, that “the mobile phone industry is where the automotive industry needs to be” - an absurd comment for sure…maybe not! From initial understanding, a motor vehicle is carnivorous performing a well-established single task throughout its lifecycle, whereas the mobile phone is omnivorous, evolving greatly to not only communicate verbally, but also through text, internet access and both audio and visual entertainment. To critically assess motor vehicles versatile capabilities, is to understand effects of their singular task. Whilst moving from location to location, fuel is needed/ whilst not in use, ground space is occupied/ despite being designed to accommodate multiple passengers, the occupant average is 1.2. Accumulating

Basing one:four on a reward system references what we have all experienced as children – through doing something good comes reward. Choosing not to use money due to its social ubiquity instils greater sentiment within a journeys transaction; these comparisons can be likened to finding a suitable gift or simply gifting money. Furthering this, through accumulating reward points individuals can discuss in the open their system wealth, whereas if based on legal tender, these discussions could be considered a faux pas. Utilising reward points enables greater possibility of conversations surrounding system commitment and effect, promoting dialogue amongst supporting businesses on rewards trading, CO2 savings and community benefits etc.

these critical views of a vehicles presence highlights its omnivorous capabilities, the only hurdle being; standardising calculation. Through employing mobile device technology to accumulate data via GPS recording, Bluetooth recognition and CO2 emissions reductions, the vehicle takes on a new social persona. Calculations can be made, achieving a quantifiable and tradeable figure that contributes to the wider community’s forward movement. Positioning the vehicle in this light supports the statement made of mobile phones and the vehicle industry, indicating clear avenues where the motoring industry can move aiding in the future development and relevance of motor vehicles in society.

Stakeholder blueprint

Within burgeoning urban communities still exists the longstanding need of personal mobility, yet in conflict with these escalating populations are the restrictions of existing infrastructure. Geographical features, housing developments and parklands all restrict infrastructural development that would accommodate for increasing vehicle ownership and address current congestion issues. If escalating vehicle ownership patterns continue, we would see an influx of motor vehicles on our roads decreasing the existing road networks efficiency and adding to a menagerie of side effects. The foreseeable solution and reasoning behind this concept are to utilise one:four approaches, whereby one vehicle utilising the system has the ability to move four current vehicles occupants. This reduction in vehicle numbers alleviates dependency on single vehicle ownership therefor allowing a new vision of the predicted urban scenario of Melbourne 2030.

Using ride sharing as a valid form of public transport highlights focal points within the ensuing system able to benefit from further design. These focal points yield opportunity upon which the automotive sector can capitalise; broadening their scope, providing mobility to a future population whose predecessors have long supported their product and fostered ideals of motorised movement. Detached from providing modes of independent mobility - further promoting established inefficient vehicle relationships, the future of mobility in increasingly populated and constrained urban environments rests with the aptitude to repackage common need of transportation. In utilising a ubiquitous tool increasingly depended upon within our society, creates links among us where greater flow of information and therefor vehicle accessibility can be attained. With foreseen application to housing developments within Melbourne’s growth corridors and throughout inner-city suburbs, centralising the concept builds equity and initiates ownership, leading to greater value within the communities. Contrasting greatly against the multiple makes and models currently occupying driveways and roadsides, automotive companies would have the opportunity to bid for the contract to be sole providers of commuter vehicles.

Facing the possibility of reduced vehicle sales figures in the wake of this proposal, additional revenue streams supplementing perceived revenue loss are possible, existing within the provision of mobility services; continued vehicle maintenance and infrastructure development. Standardising both physical and mobile interactions transfers the automotive industry into a hybrid existence with social media and mobile technology, where their operation is socially inclusive, environmentally positive and a step forward in catering for projected populations needs.

//...focal points yield opportunity upon which the automotive sector can capitalise; broadening their scope, providing mobility to a future population whose predecessors have long supported their product and fostered ideals of motorised movement

“The general premise, that we have a number of critical drivers coming together, is correct. The date 2030 is rhetorical. We don’t know whether things will become critical in 2027 or 2047, no-one has any idea, but within the next generation these things are going to come to pass unless we start doing things differently. That is the urgency of this set of ideas. When governments talk about reducing emissions by X% by 2050, I despair. We need to do it by next week. Humankind has not faced this set of combined challenges ever before.” – Professor Jules Pretty, 2009

The level of social immediacy when addressing carbon emissions appears to be a dribble in comparison to the strong flow suggested to be needed by Professor Jules Pretty. In a society convoluted with product marketing, environmental causes and personal moral, clarity of individual contribution within their daily lives to aid in stemming CO2 emissions need popularising. Founded through the research and development of this concept, is real advantage in utilising existing trends and accepted forms of mobile interaction in order to clarify for the individual what is in their capacity to contribute.

Anchoring this concept to real issues having greater weight of appeal in urban living, generates a new flow of effect and association establishing links that highlight personal impact as a result of specific action within our environment. It is pertinent to include as beneficiaries alongside individuals and local business, industries competing on the stage of globalisation and consumer product demand where the urban environment harbours greatest influence. The concentration of contributors to both CO2 emissions and vehicle championing in this environment yields the perfect storm of focus groups. These groups reveal susceptibility to

trending change and present a great target through this, offering plausible concept implementation where socially permeating ideas can manifest. Of these possibilities, promotion of local industry over broader National or international alternatives generates a greater personal knowledge of urban/ rural relationships, in addition to affecting cost of goods and services.

In stating the interwoven nature of one:four and its viability as a form of future urban mobility, re-assessment of the role automotive company’s play in our evolving environment needs undertaking. Recently proven, the environmental drive behind future automotive sales within the local industry no longer compliments the Australian social majority, as regurgitation of generic forms and reliance on style and gadgets to support sales is falling by the wayside in face of environmental imperative. Attaching benefit to multi person single vehicle mobility in effect promotes maintaining existing manufacturing and design cues of large vehicles - yet not in as greater numbers as previously experienced. This opportunity presents local industry with the prospect of addressing mobility as an encompassing social need independent of individual ownership; rather embedding a mobility source as a community asset.

In the shadow of environmental and global change, resource depletion and impending energy crisis’, is a need to diverge from the stagnated mobility resolution of the current automotive industry, instead providing the urban community with real mobility - where forward movement refers to more than an individual’s motion. After all, regardless of performance, fuel efficiency or marketed lifestyle – congestion is indiscriminate.

//After all, regardless of performance, fuel efficiency or marketed lifestyle – congestion is indiscriminatePretty, P. J. (2009). "Averting a perfect storm of shortages." Retrieved September

15, 2012, from http://news.bbc.co.uk/2/hi/8213884.stm.

KATHLEEN VELLA / SMALL CHANGE

With a focus on small businesses based in the Geelong region, Small Change centres around the design of a consolidated method by which these businesses can improve the sustainability of their practices. Current auditing resources require a level of knowledge and understanding and are not adequately accessible to entry-level businesses who have a desire to make positive environmental change. The Small Change self-help campaign aims to create a greater awareness of opportunities for making changes toward environmental sustainability within the region of Geelong and involves events, tools and tangible kits. These allow time-poor small businesses to develop the sustainability of their practices in a visual and meaningful way which is flexible and easy to work with. The campaign aims to give small businesses self-help instruments and information gathered from multiple sources to leverage their capacity to future proof their business.

SmallChange

Kate Vella

// SMALL CHANGE

//

enabling self-initiated change for a sustainable future

Initially I had presumed that large businesses were the key to changing the worlds approach to sustainability, as large scale world problems seemed to require a large entity to properly address this issue – this shaped the initial parameters for the design project. However, through research on the profiles of large, small and medium businesses, it was found that large businesses are often bureaucratic and change can take time, while small businesses are agile and able to better cope with changes quickly (Kapla, S, n.d.). According to the Department of Business and Industry (DBI), of all businesses in Victoria, approximately 95% are small businesses (DBI, n.d., key facts—small business) – therefore the focus of the project shifted to suit the needs of small businesses. The focus also shifted from trying to accommodate the three aspects needed for a wholly sustainable business – also known as the Triple Bottom Line – and instead focused upon improving a small business owners knowledge from an environmental perspective whilst maintaining key operations essential to running the business day to day. Geelong was chosen as the setting for this project for many reasons; according to the DBI (DBI, n.d., Chapter 2), Geelong is one of 7 hubs for small business in Victoria, this means there are other similar hubs where the Small Change Campaign can be implemented. It is a rural and urban town centre which offers variety in existing small businesses and it is neither a small nor large town, with potential for Small Change to be scaled up or down to suit these larger and smaller towns. It is also my hometown, with the family business willing to support the Small Change project. The business, Allsure Insurance, has an array of pre-existing contacts which were also called upon during the project. It was found, through immersion in the setting and constant engagement with the stakeholders that there are plenty of resources available, however there is a lack of knowledge not only in where to find them, but how to understand and apply them. Research showed that small business owners are not sure where or how to look for information regarding sustainability practices and that what

they find appears irrelevant. In a town where verbal communication between these businesses provides invaluable information, it was crucial to include and build upon this. The local Chamber of Commerce, an organisation that represents over 600 businesses in Geelong, were excited about the opportunity to offer to a toolkit to the multitudes of small businesses in Geelong. Offering the tool through such an organisation ensures as many businesses as possible can access the information. Further research into existing products and tools found that a majority focus on manufacturing (where a large amount of raw material is used and waste created) or legal compliance such as a written and documented Environment Management System (EMS) or compliance with international environmental standard ISO 14000 which may not suit the needs of small businesses.

Kapla, S, n.d., 4 Innovation Strategies From Big Companies That Act Like Startups, Co.Design, viewed April 13 2012, <http://www.fastcodesign.com/mba/1670960/4-innovation-strategies-from-big-companies-that-act-like-startups>Department Of Business and Industry, n.d., key facts—small business, Australian Government, viewed March 23 2012, <http://www.innovation.gov.au/SmallBusiness/KeyFacts/Documents/SmallBusinessDataCard.pdf>Department Of Business and Industry, n.d., Chapter 2, Australian Government, viewed March 23 2012, <http://www.dbi.vic.gov.au/__data/assets/pdf_file/0009/373698/Chapter2.pdf>

// RESEARCH

// It was found, through immersion in the setting and constant engagement with the stakeholders that there are plenty of resources available, however there is a lack of knowledge not only in where to find them, but how to understand and apply them.

This project is all about small change, how a little effort can go a long way. It aims to remove the preconception that change for the betterment of the environment, from a business perspective must be large scale, legally compliant and encompassed in statistics. The Small Change Campaign allows an entry point for small businesses who are slowly gaining an understanding of sustainability and wish to make changes that are low risk. This places the responsibility, and the risk, in the hands of the business owner with a Do It Yourself attitude. The tool is used and modified at the business owners discretion and can share the information gained in a similar manner. It aims to give the business owner a confidence in seeking bigger change and improvement for their business. The Small Change project promotes non-monetary values and this is something that the business owner shares – their desire is to have a positive impact and any financial gain is superfluous. In the Geelong area, important and new information is frequently shared through networking and verbally transmitted information. This is particularly the case with small businesses, and strong relationships are created. By working with the Small Change Toolkit, business owners consolidate information to a level that makes it easy to convey within their own business and to others in the community, thus creating an epidemic in the flow of sustainable business information within Geelong.

// THE SMALL CHANGE PROJECT

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The Small Change Toolkit enables a small business owner to summarise information and visualise their thinking in creating environmentally sustainable solutions within their business. The toolkit includes a customisable pie-chart which quickly translates facts into visual data, with digits and ideas forming easy to read and interpret colour graphs. This initial step is followed by extrapolating information using the visual thinking tools, the ‘thoughts’ note pad and ‘goals’ cards, to properly consider all aspects of the proposed changes. The small business owner can read through select case studies, examples and ideas and research further through following suggested links. This toolkit has been designed with the small business owner specifically in mind and promotes tailoring to suit the needs of the specific business. It aims to remove the jargon and difficulty that comes with tackling pre-existing tools for creating sustainable change. It is self-driving and if choosing to involve others, allows for the sharing of clear and meaningful information.

The toolkit allows a process of creative thought in a once highly regimented setting and works through a method of applying these thoughts to the business. The toolkit has been formed from an extensive foundation of research by experiencing the situation first-hand and conversing with stakeholders. The Small Change toolkit is the second step in a three-step overarching campaign.

// THE SMALL CHANGE TOOLKIT

//This toolkit has been designed with the small business owner specifically in mind and promotes tailoring to suit the needs of the specific business.

//Considering the issue of sustainable businesses in a holistic way increases the likelihood of changes being made and followed through.

The campaign concentrates on the whole service; considering pre (awareness), during (adopting) and post (affirming) usage of the toolkit: •Awareness consists of events aimed at growing awareness of sustainable practices in small business in the Geelong region.

•Adopting consists of the business owner applying the toolkit to their own business and

•Affirming ensures there is a support network for business owners to maintain the environmentally aware practices. Awareness events spike the interest of small businesses who want to make positive changes, adopting covers the process of the small business applying and making changes in their business and affirming networking allows the business owner to share their knowledge, utilising pre-existing networks which vital information readily flows. It allows the business owner to share their experiences with others, essentially teaching a greater audience than the individual. The Small Change campaign focuses on the individual experience within a greater network of small business people striving for positive change. It promotes the ease of small change within small organisations and allows the collective knowledge of sustainable practices in a particular region to grown. Considering the issue of sustainable businesses in a holistic way increases the likelihood of changes being made and followed through.

// THE SMALL CHANGE CAMPAIGN

The first contact a small business owner will have with the toolkit is through attending an event, through word-of-mouth or via a special offer provided by an endorsing organisation, such as the Geelong Chamber of Commerce or VECCI. The events are promoted under the Small Change campaign title; attendees find out a little about the further reaches of the campaign and the toolkit after arriving at the event. The small business owner has an opportunity to utilise the Small Change toolkit after the event and be further involved with the campaign. The Small Change toolkit and campaign allow small business owners in Geelong to write and create their own sustainable business future, promoting ownership of their ideas, tailoring their ideas to suit specific businesses and creating an inherent desire to act on their ideas. The business owner can work alone or involve the whole team while working with the toolkit, or simply share their findings. Communication tools built into the Small Change toolkit enable information to flow with clarity between key stakeholders such as employees and other business owners. Using the toolkit; the business owner can collect basic statistics from everyday documents, thoughts, ideas and feelings, use this data in the pie chart and then expand on this information with the thinking tools allowing further communication and development. The Small Change Toolkit enables recording of information for future reference – the business owner begins with a base line, with progression developed and shown over time. Small business owners are often very aware of their profits and losses, continually ensuring their business is financially sustainable. They cater for client needs and are socially active to the benefit of the business, yet associated environmental awareness is often amiss. The Small Change toolkit aides the small business owner in creating a wholly sustainable business: one that meets the needs of the people it serves, has continual profit and has a positive environmental impact. There is also a moral validation that comes with gaining and sharing knowledge on sustainable practices and ensuring the business will suit the climate of 5-10 years’ time. There is an imperative to act now in order to prepare the business for the future – future proofing the business. Using the Small Change toolkit, the small business owner has the opportunity to promote their positive practices through their business networks and through marketing and advertising. This in turn attracts clients who hold the same values as the small business.

// THE CUSTOMER JOURNEY //Insert quotation here or excerpt from this body of text

Receive the toolkit Work with the toolkit

Responses from owners / employees

Pledges and changes

Engage with other toolkit

usersOutcomes

Allsure Insurance

engagement

Expenses

Community

Time

Small business

owner

Email

Website

Small business

owner

VECCI

Chamber of Commerce

Small business employee

Event

Email

At an event

Phone call

PostRelief –

easy to follow

Fun – looks like the process will be

enjoyablePick up point

Intrigue – looking

forward to working

with the toolkit

Excited – to share details

With managers

Alone

With employees

Research more

Work more

the business

Get others involved

Talk about possible changes

Share details

Implement top down changes

program for employees

HappinessTalk with

employees

Become more involved in

the community Talk with other business

owners and create

an alliancePart of

something

Safe / secure –

the future of the business

Become a more sustainable

business

Listed to concerns

of employees and managers

Take ideas home

and apply them there

networking events

The family business, Allsure Insurance, has frequently been consulted for the during the Small Change project. Immersion into the business and its networks created a sound base of research and has shaped an evolving case study. Allsure Insurance has been the first to hear ideas, testing and trialling these empowered more refined concepts that truly reflect the needs of the small business demographic. Once tangible concepts were created, these were also tested with the owners and employees, through observations and discussions. Working in this agile method has allowed for fast developing hypotheses and prompt alterations in direction ensuring multiple possible outcomes were reached and considered. Allsure Insurance has seen the direct benefits of considering their business from the aspect of environmental impact – recently entering into the Geelong Business Excellence Awards, Allsure Insurance received 80 points out of a possible 100 in the ‘Sustainable Business’ category.

// CASE STUDY

The Small Change project has also been supported by a range a business people, lecturers, academics and service providers, as well as the family business. These people have also been consulted throughout the process, some on one-off occasions. These consultations often occurred through face-to-face meetings with discussions about the project space, the purpose the project aims to serve and what that individual is doing in a similar space. All the while a great variety of ideas, opinions and thoughts have been collated and acted upon in the realisation of the Small Change outcome. One particular organisation that has shown a keen involvement is the Geelong Chamber of Commerce. The organisation has proved to be a key stakeholder in the future of the Small Change Campaign. The Chamber was found, during research and meetings, to have common values and desire to share such information and so, fits into the role of distributing the initial wave of information. In this respect, the Chamber of Commerce was able to provide feedback once a consolidated idea was presented, as a representative for hundreds of small businesses. Their enthusiasm for the future of the Small Change project was enough to reconfirm the values, ideas and methods already engrained in the Small Change toolkit.

// SUPPORT

The Small Change project sits within a small, niche design segment. While there are organisations tackling issues of sustainability, there are few focusing on small business and even less focusing on a DIY aspect that allows the business owner to drive and tailor the change. Within the greater campaign, small business are supported in all aspects of the change making process. This is a design project which utilises user centred design methods, service design methods and sustainability methods to shape changes in small business, for the better.

STATEMENT

SmallChange

// Acknowledgements

For their guidance and support the Social Sustainable Studio would like to sincerely thank:

Soumitri Varadarajaan Liam FennessyMick Douglas

Publication design by:

Siobhan Cribbin &Charlotte Hannah

All publication content is attributed to the individual designers:

Zachary BealRebekah Crawford

Siobhan CribbinLucy Fraser

Charlotte HannahChris Herman

Philip PilleCharles Skender

Ashley SmithEk Teck Su

Bryce TayluerBolaji Teniola

Michelle McDonellGlenn Stephenson

Kathleen Vella