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Phills et al. Indeed, many of the best recognized social innovations, such as micro-finance, are combinations of a number of these elements. Concurrently, design has been recognized as a valid tool by social innovation organizations Murray et al , Rockefeller Foundation In starting to make a rough map of the origins of this new design field, three different approaches emerge: transformation design in the UK, creative communities and collaborative services in Italy and social innovation for developing countries in the USA.

Burns et al. The Design Council has also initiated demonstrative programmes like Design s of the time Dott and Public services by design Design Council , Furthermore, other public institutions have initiated projects involving design companies. The combination of public support and engaged design companies have made UK a leading scene in the field of design for social innovation. These networks have identified and collected cases from creative communities around the world.

Examples range from a house where elderly people live in a resource-sharing community suited to their diverse needs, to a workshop where unemployed, disabled people and immigrants find work by repairing and up-grading used products. Tim Brown , has popularized and spread the concept of design thinking which core ideas working with complexity, empathy and user perspective, collaboration between disciplines, experimentation and prototyping resemble the ideas of Transformation design.

However, the typical take on design for social innovation in USA Brown et al. Also Project H Design is working with a local community in rural USA, bringing design skills into public education. However, through practice, some limits have been highlighted. In the last two years a growing number of critical reflections McCulagh , Parker have been heard from diverse actors.

They are pointing out that design can be successfully used to deal with the complexity of social problems but it has to be adapted to this new landscape. The former director of the Young Foundation, Geoff Mulgan , has listed what he considers to be the strengths and weaknesses of design for social innovation. Some of the strengths are: visualization techniques, bringing novel insights, working from a user perspective and fast prototyping.

Big social problems have many causes; involve real tradeoffs; and require solution that can work with multiple user groups across multiple levels. We need the critical questioning of social policy alongside the creative freshness of design. Indeed if we want to achieve long-term social transformation, we must be equipped to develop, test and spread robust theories of change.

Schulman The rhetoric, as a recent Economist article on social innovation made clear, is all about doing services better, but in ways that just happen to also save the government money and, more importantly, withdraw governments irrevocably from such services.

Tonkinwise Strategies to deal with the limits As Geoff Mulgan suggested, design needs to start collaborating closer with other disciplines involved in social innovation as well as learning about new tools and methods that could support the development of robust proposals and their implementation in real contexts. Some reflections should also be done about the role of the desig ner in these kinds of projects. As Tonkinwise pointed out, there is an ethical issue concerning desig ner s responsibility to the socio-political consequences of the projects they are working in.

In order to explore how to face these weaknesses, we arranged a workshop at the ServDes conference Emilson et al. The participants desig ner s, researchers and experts from other fields were asked to brainstorm around some of the quotes questioning the use of design in social 26 swedish design research journal 1 11 innovation and to propose strategies to deal with these limits.

The participants declared, with different statements, the importance to embed design in organizations in order to avoid the short-term commitment of external consultants. Involving all possible key actors civil servants, NGOs, companies etc. While in other fields for example product design the roles in the project are clear and structured; in social innovation, the number and diversity of involved stakeholders can lead to questions about the responsibilities and accountabilities of the different actors and, consequently, have a negative affect on the project implementation.

The idea of designing networks was also related to co-creation strategies and participatory approaches, in which the desig ner s become more of a facilitator or an enabler of the design process. An interesting discussion took place around the role of the desig ner in social innovation. According to this position desig ner s should not suggest possible solutions, since they are missing the competences for doing it, and the active role should be left to the stakeholders directly involved.

However, in our practice Bjorgvinsson et al. In this paper we would like to focus on three aspects characterizing our activities: n setting up collaborative design processes where diverse stakeholders with complementary skills work side by side and where mutual respect and learning is supported; n building long-term relationships and trust with stakeholders.

This can lead to the foundation of open-ended designing networks; n performing early prototyping where possibilities are explored in real contexts but where potential dilemmas also are highlighted. Social innovation demands multiple perspectives and we collaborate with NGOs, municipalities and business part ner s.

Often we establish relationships with them separately to explore possibilities related to their own agenda, getting multiple starting points for potential projects and innovation. At the same time we also try to see how different interests could be integrated. Their activities are focusing on cooking, textile design, traditional clothing and carpet production. During the first meetings with them they expressed the desire of being more integrated in the Swedish society by finding opportunities where their abilities and skills could be valued.

Instead of setting up a short and well-defined design process, we have slowly been building a long-term relationship with them. In this process we are not acting as the smart desig ner s and imposing solutions on them, rather, we are facilitating HKF in being the desig ner s and developing ideas about how they could contribute to society.

Our role as desig ner s was then to help them in prototyping this as a potential service by, for example, establishing a connection with the media company Good World one of the members of the MEDEA network who let HKF and the children use the kitchen in their premises.

This prototype proved that the women could provide an important support for these youths, but it also highlighted some potential dilemmas. Furthermore, it clearly emerged that HKF needs support in navigating the Swedish bureaucracy as well as in setting up business plans. Our approach is to let them know about our experiences and results as well as supporting their ongoing projects by organizing design workshops and meetings where we also bring in the actors from our network.

These workshops act as mutual learning spaces where we explore how design could make sense in their context. Through them, the design opportunities are brought to another level, more closely connected to policy, where civil servants in important positions have the power to implement large-scale change.

However, there is a need to develop specific approaches to deal with the complexity of social issues. From our experiences we suggest long-term commitment instead of more structured projects with a limited time frame. A longer time span and a more open-ended approach have been especially valuable since, as we have seen above in the HKF case, a lot of design opportunities were related on how new networks and resources step by step have been connected and aligned.

Working with a more flexible time frame facilitates the creation of a designing network that connects bottom-up initiatives and new ideas from grassroots with top down, the civil servants with power and resources to implement change. Involving diverse stakeholders allows bringing in diverse competences to respond to the challenges of social innovation.

Prototyping allows exploring consequences of activities and this can be used also as a way to give solid ground for decisions on a policy level. We also recognize our limits, for example when it comes to dealing with policy or business, and we try to overcome them by facilitating the participation of stakeholders with different competences.

On the Spot Experiments within Healthcare. PDC Proceedings Brown, T. Design thinking. Harvard Business Review. Harper Business Brown, T. Design Thinking for Social Innovation. Burns, C. Transformation Design [online]. DESIS DESIS network design for social innovation and sustainability [online]. Emilson, A. Service design for social innovation: a strategic approach to strengths and weaknesses. Proceedings ServDes Engine Building a social innovation lab [online].

European Commission Europe Flagship Initiative Innovation Union [online]. Fuller, R. Operating manual for spaceship earth. Collaborative services: Social innovation and design for sustainability. Edizioni POLI. Live Work Margolin V. Design Issues, , 24— McCullagh, K. Morelli, N. Design Issues, , 3— Mulgan, G. Murray, R. The Open Book of Social Innovation. The Young Foundation, Nesta. Amplyfing Creative Communities [online]. Papanek, V. New York. Pantheon Books. Parker, S. Phills, J.

Rediscovering Social Innovation. Stanford Social Innovation Review, , 34— Project H Design. The Rockefeller Foundation and Continuum Design for social impact: Workshop [online]. Sangiorgi, D. Transformative Services and T ransformation Design. SEP Sustainable Everyday Project [online]. Schulman, S. Design thinking is not enough [online]. Seravalli, A. Think Public Case studies [online].

Tonkinwise, C. Young, R. Policy needs to meet practice [online]. This paper describes our design of an e ner gy awareness artefact — the E ner gy AWARE Clock — and discusses it in relation to behavioural processes in the home. Today, we lack an awareness of the relationship between electricity production and consumption, which was more obvious in the olden days.

Electricity is produced in large-scale power plants and consumed in the small scale through electrical appliances in the daily life. Before the production became centralized, people had a more direct relation to the use of e ner gy. For example, through the very act of chopping wood they experienced the effort involved in the production of e ner gy for heating and cooking Borgmann With the AMR data, measurements on electricity consumption are sent to the power company regularly.

This yields adequate bills based on actual measurements. Some of these meters have displays showing the household how much electricity it is consuming. The underlying assumption of introducing this technology into the home is that the feedback it provides will lead to behavioural changes and reduce e ner gy consumption. However, research karIn ehrnberger Royal Institute of Technology, Engineering Design , Stockholm, Sweden forskning in the design of feedback to fit in with everyday life of households and to behavioural change is still at its early stages.

Despite multi million Euro investments in AMR meters, only little effort has been made to reflect upon the design of the interface to the user. Most e ner gy feedback interfaces are designed from a traditional engineering standpoint. A common method to provide feedback to users is, for instance, that electricity companies now offer personal websites for their customers. The key feature of the webbased solutions is that they provide aggregated overall data on the consumption of the home and visualize this in histograms to show when consumption is low or high.

A clear disadvantage with the web-based approach is that users must log in and access the information via the Internet, which is an extra barrier to the use of the service. The present paper approaches the problem of behavioural change from a design perspective. Previous research shows that providing people with feedback on their e ner gy behaviour under appropriate conditions will lead to a reduction in e ner gy use Darby Abrahamse et al.

However, little is known about specific characteristics of these conditions, e. By this, the paper aims to contribute to knowledge on the design of interfaces to the electricity system in a home environment. The reported work is carried out within a research-through-design framework Frayling Thus, the goal of the design process is twofold: 1. Creating a concrete example of an artefact substantiating and exploring identified critical aspects of this relationship.

These two goals are interdependent. The creation of the prototype is central and it plays an active role before, during and after its concrete construction. The design process is a vehicle to drive the exploration of the problem forward. Phases and their respective purpose are overviewed in Table 1. In the following sections we will first describe the properties of the EAC and then give a short motivation to the design rationale anchored in the field study.

DESIgN PHASE PURPOSE Field study of nine to inform concept formulation households Design workshops To synthesize findings from the field study with design knowledge and results discovered through the design process Construction of Further refinement and understanding prototype of the specific design context by material properties and an envisioned use Contextual study of use to ge ner ate knowledge and new of prototype in nine inquires concerning the relation new households between design and domestic electricity consumption table 1: Overview of the design process the e ner gy aware clock The EAC is a new kind of e ner gy display that uses a time i.

Just as a clock, the EAC may be hung on the wall. By further connecting to the clock metaphor we wanted to get away from the concept of a me- 32 swedish design research journal 1 11 ter and to wash away technological references to the discourse used in the domain of electricity. The overall idea of EAC was to make electricity use more concrete in relation to ordinary activities as well as being a tool that could encourage discussions about electricity consumption in the home.

The refresh rate is several times per second and it requires less than 5 watts to operate. Figure 1 shows the EAC. A complete turn represents 1 minute, 1 hour, 24 hours or one week, depending on which view is selected. The angle of the dial represents the current time — similar to an analogue clock — and the length of the dial represents the amount of power used at that specific moment i.

When an electrical appliance is switched on this can be seen on the display immediately in terms of a longer dial Figure 1. Figure 1: the E ner gy AwARE Clock in the 24 hour view, showing the electricity consumption for the whole day and two days back in time. As time progresses, the dial leaves a trace behind on the display and this area depicts the historic e ner gy consumption.

The areas for several days can be seen and compared in this way. For this we collected data through home observations, photographs and interviews with members of households. Nine households in Stockholm, Sweden were selected. The constellation of the group was intended to reflect different and divergent living conditions and lifestyles. Each interview took circa two hours and was followed by a tour in the house while discussing and photographing things of interest for the study.

Interview questions revolved mainly around three topics: The home as the material framing for everyday actions; motivators for e ner gy conservation and efficiency; and how and where electricity was used. Three major design themes were identified from the field study: complexity, visibility and accessibility.

Each theme and the resulting design decisions are described below. Complexity One of the central aspects for understanding how to save electricity in the home is to be aware of when and how the household is consuming electricity. The electricity bill and the present meters did not provide enough feedback although these were primary communication channels of on electricity consumption to the informants.

The unit of measurement used on bills was kilowatt-hours, a concept which most of the informants were not able to relate to, neither in terms of e ner gy or money. The most senior informant, 81 years old, had an electricity diary where he wrote down the current position of the electricity meter every day at noon. With this routine he could keep track of the electricity consumption from day to day as he went down to the basement to write down the numbers see Figure 2.

Figure 2: the workplace in the basement where our senior informant kept log of the households electricity consumption. In an effort to reduce the complexity of the information, we wanted to create an artefact that more directly communicated the amount of electricity used at a specific moment as well as historically. The comparison between present and past consumption was meant to facilitate for the understanding of how much electricity individual electrical objects in the home consumed. Since kilowatt-hours is a complex concept we decided to focus on relations in a more visual way.

By getting feedback from the circular graph about forskning how much electricity the household uses at that specific moment it would be easier to compare and understand the historical patterns. The idea that the user would discover the electricity patterns over time was essential to the EAC concept.

Visibility Informants found it difficult to understand how much electricity different artefacts in the home consumed. Many informants mentioned turning off lamps as a way of saving electricity. The representations of the electrical system is more or less successfully disguised; hidden behind covers and assimilated to the background surface, for example painted white Figure 3a. Figure 3a: A hidden air pump. Figure 3b: An electricity meter uncovered in the basement.

To approach the problem of hidden electricity, the EAC was designed to stand out as an object in its own right making electricity ubiquitous and tangible. The mere presence of the artefact was meant to act as a reminder and a strong symbol for e ner gy awareness. It was important to try to make it interesting and aesthetically compelling so that it would be visible and placed in a central location in the home. Accessibility Electrical installations are often hidden and located at places isolated from the everyday living area.

Such boxes and cabling are placed in the basement and in the garage. These places are seldom shown to guests and the aesthetical expression of these devices is not particularly important. The side effect of this, however, is that certain members of the household will be granted access and obtain control of this technology.

Engagement in electricity consumption, thus, is easier for these members than for those who have little access to spaces where the technology is installed. Gender seems swedish design research journal 1 11 33 forskning also to play a role in this. Women still take the main responsibility for the household and children, whereas men are responsible for the maintenance of the house.

Hence, women and children have different movement patterns in the home and mainly move around in the part of the home where little of the electricity system is shown, while the male domain is in the garage, the workshop and the basement where the electrical system is more visible.

Movement pattern has implications for accessibility, which in turn is connected to engagement. It is hard to become engaged in electricity consumption of your household when information concerning it is difficult to access Figure 3b. In an attempt to engage the whole household in reflecting upon electricity use and establish a relationship to the electricity system in central areas of the home we again used the metaphor of the clock object. It is intended to signal to residents to put the EAC in a central, shared space, of the household — just like an ordinary wall clock.

In accordance with this method the prototype is installed in the home to stimulate a dialogue about the object and the new situation. Data collection and Analysis The study was carried out in a recently built neighbourhood in a suburb to Stockholm. Nine households in a block of nearly identical terraced houses were recruited for the study.

These were equipped with an EAC placed centrally within their home for three months Figure 4. EAC was installed in such a way that it would only measure electricity use from appliances in the household. Eight of the nine interviewed households were families with adults between 30 and 35 years and one to two small children or babies. The eighth household was a couple around 60 years with no children in the house. Data from the 9 families who tested the EAC were collected through qualitative in-depth interviews at the end of the three-month period.

Results User Study Interviews were transcribed and transcripts analysed. In this paper we focus on the following emergent themes: Patterns of use and behavioural change; Awareness of electricity consumption; High and low consumers; Interpretation of direct feedback; and individual differences. In the first phase the electricity consumption of electrical appliances in the home is explored.

This phase is characterized by a playful curiosity and driven by a goal to map out the amount of electricity used by the appliances of the home. This exploration phase lasts for 3—4 weeks. The above quotation also illustrates how the clock plays the role of a tool for learning.

It also seems to trigger a playful attitude in users motivating them to explore electricity in their household. The EAC apparently appeals to homo ludens — the playful creature Huizinga, After a few weeks with EAC, usage enters into the second phase — the confirmation phase. This phase is characterized by a checking behaviour and by EAC being domesticated into the household Silverstone and Haddon, The role of EAC during the phase of confirmation seems to be that of a traditional clock on the kitchen wall — an artefact you throw a glance at now and then to relate to the current situation.

Then you know, since it follows a pattern, then you have control that Awareness and insights of electricity consumption According to informants in all households, the mere presence of EAC contributed to an increased awareness of electricity consumption. Consumption became visible in a more direct way than before. High and low consumers EAC has also ge ner ated insights to households concerning the electricity consumption of specific appliances in their home.

High consumption was discovered in tumble dryer, washing machine, spotlights, TV, floor heating and coffeemaker. So we started to switch them off at night. He, he. Figure 5: The coffee-maker pattern recreated in the hour view. Starting making coffee at around 34 minutes and keeping the coffee warm for the remaining hour. One informant did not interpret the information from the clock as a graph and information over time. Only the watt numbers were used to understand how much electricity different appliances consumed.

On the other end, there was a household that fully grasped the concept of the three different layers of the graph that could be used to compare present values with previous ones. They also explicitly appreciated the circular graph and talked about different electrical appliances that left their own specific patterns on the clock Figure 5 and 6. For them, the numbers were secondary but used to create meaning in relation to the graph. Despite the fact that the user group was very homogeneous, with similar ages and family constellations, the feelings towards and interpretations of the clock were surprisingly different.

This is probably partly explained by previous knowledge and experience. Often, these different interpretations where polemic: Aesthetic ornament or tool? Pretty or ugly? Surveying or simply visualizing? Was it a clock or a meter? Significance of place One household perceived the EAC negatively and was so stressed by its presence that they moved it to the laundry room.

Because we try to keep [the electricity consumption] down as much as we can anyway. So, really, it was quite negative. Then you can… look at the clock quite… often. First, the EAC obviously made electricity use more visible for households. During the three-month domestication period the deployment of EAC went through the clear discernible phases of exploration and confirmation. At the exploration phase the clock encouraged reflection and when users gradually entered the confirmation phase it was used more as a reminder.

The design intentions of accessibility and visibility greatly affected engagement and interaction. The location and visibility of an e ner gy awareness artefact seems to be essential. The mere presence of such an object seems to have an effect in itself, regardless of the design and as long as it is clearly visible. Even informants who said that they were not affected by the EAC were in fact influenced to alter their behaviour in a more e ner gy conserving way.

Worth noticing is that this central placement and visibility sometimes became a bit of a provocation in itself, preventing some of the households to fully accept the e ner gy clock as a true member of the ecology of household goods.

One family decided to move the EAC to the laundry room at an early stage because they felt it was too present and disturbing — in a way, rejecting its centrality. Another result, originating from the central placement of the EAC was an even engagement within couples concerning the use of electricity.

This should be contrasted with the field study which pointed to electricity being a matter for a single individual — typically a man. Merging the concept of a meter and a clock did not just transfer connotations that were beneficial for understanding but also added confusion on how to read and understand the circular graph and the overlapping of different layers. Contradictory to our design intentions, few understood and made use of the circular graph. This may have to do with previous experience and knowledge of the informants.

Informants who understood how to read and interpret information provided by the clock also put more Figure 6: 24 one hour patterns recreated from data stored from one household Cecilia and Claes on Saturday, the 18th of April These informants were also more excited to use the clock.

The clock metaphor and circular graph were not used to its fullest potential as envisioned in the design process because many informants found the graph hard to understand and preferred the numbers. One reason for this could be that the layers in the graph were not drawn as clearly as intended in the original design due to various practical problems in the construction of the prototype.

This addresses interesting issues regarding the significance of good craft, the importance of details and its relevance for the overall interpretation of a new design. It is interesting to highlight a few observations from the user study reflecting a tension between quality of life and the need to conserve e ner gy. For instance, one informant mentioned floor heating as an unnecessary luxury. In the early 20th century e ner gy companies were looking for ways to increase consumption during daytime and a series of kitchen appliances were invented in rapid succession that helped achieve this goal.

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