Spring 2017 | CoDesign Collaborative https://codesigncollaborative.org A Creative Lens for Change Wed, 20 May 2020 20:16:12 +0000 en-US hourly 1 https://wordpress.org/?v=6.6.1 https://codesigncollaborative.org/wp-content/uploads/2024/08/cropped-Website-Favicon-32x32.png Spring 2017 | CoDesign Collaborative https://codesigncollaborative.org 32 32 Rethinking Boston’s Storied Planning Agency https://codesigncollaborative.org/issue/rethinking-bostons-storied-planning-agency/ Wed, 22 Jan 2020 01:38:43 +0000 http://designmuseum.wpengine.com/?post_type=issue&p=15513 The post Rethinking Boston’s Storied Planning Agency appeared first on CoDesign Collaborative.

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A New Life for Impact https://codesigncollaborative.org/a-new-life-for-impact/ Mon, 15 May 2017 19:50:46 +0000 https://codesignforstg.wpenginepowered.com/?p=17338 The post A New Life for Impact appeared first on CoDesign Collaborative.

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A New Life for Impact

One Designer’s Journey from Tragedy to Catalyzing Change

Suzanne McKenzie is passionate about using design to make the world a better place, one impactful collaboration at a time.

By Suzanne McKenzie, Founder & CEO, Able Made; photos courtesy of Suzanne McKenzie & Able Made

You don’t get to choose when tragedy will strike — it invades like an unwanted guest. When a major change unexpectedly disrupts your life, you must cope while making sense of the unexplainable. This is the story of how a tragedy took hold of my life and how I regained control through the power of hope and the unwavering support of the design community.

Tragedy Strikes

At the ten-year mark of my corporate career, I felt something was missing. I had worked as a designer and project manager for amazing companies like Arnold Worldwide and Continuum, doing creative work for Fortune 500 accounts like Sprint, American Express, and Volkswagen. I also had the opportunity to work on social-mission-focused projects, like the Truth campaign against smoking — those were the projects that got me excited, where I was able to make the most impact. In April 2009, I decided to start my own business as a creative director and designer targeting clients who had a social-mission focus.

My business was just getting off the ground, and my personal life was blossoming. I was living in Boston with my husband Ucal. Ucal, who I had dated since college, was a guidance counselor at Newton North High School, a suburban school outside of Boston. Soccer was a driving force in his life. He was the head coach of the boys’ varsity soccer team and coached at Valeo Futbol Academy, a nonprofit focused on developing leadership skills in competitive athletes, regardless of socioeconomic status.

Ucal had a special connection to the urban youth with whom he worked. Many times he would give his players a ride to practices and games — he liked to have fun and sing in the car with the kids to melt away the stress they experienced in everyday life. He provided important guidance to those kids on and off the field. In addition to coaching and mentoring kids, Ucal also played semi-professional soccer for various teams in the Greater Boston area.

On May 30, 2009, my life turned into a nightmare. I will never forget receiving the call while standing in my dining room, hearing the news that Ucal had collapsed on the soccer field where he was playing a men’s league soccer game. We frantically got him from the field to the hospital, but he didn’t make it. I had lost my best friend and husband unexpectedly to sudden cardiac arrest. He was only 32 years old.

Design as a Beacon

The loss left me devastated and in shock. I often found it hard to get out of bed — I now understand how a surviving spouse may lose the will to live. The Kübler-Ross model (often called the five stages of grief) was something I didn’t know about at the time, but I experienced each stage, not necessarily in order: denial, anger, bargaining, depression, and acceptance. Depression was where I languished for a long time.

People deal with grief differently. The only way I could move beyond depression was to keep moving. From the moment I woke up in the morning, until I went to bed at night, I kept busy. In those first devastating days, weeks, and months that followed, design was not only my profession, it was a welcome respite, a lifeline of hope.

I set out to combine design and soccer to help foster positivity in the lives of others. Design has always been an emotional outlet for me. It’s a channel for releasing my creative juices to solve problems. Soccer was Ucal’s passion. Discipline, dedication, and determination — what Ucal called his three Ds — was his mantra for teaching life lessons to his players in the classroom and on the field. His mantra formed the principles I would use to move forward.

The Foundation

Shortly after losing my husband, with the help of my design network, I started the Ucal McKenzie Breakaway Foundation (UMBF), a nonprofit organization to honor Ucal’s memory and impact. The foundation would continue his inspiring work with urban youth through the sport he loved, soccer, and we used design as a tool to create every touchpoint.

At the start I made phone calls to introduce the idea of partnering with some of the leading sports and health organizations in the country. A lesson I learned early on: never be afraid to ask, because you can always get unexpected results. My requests led to partnerships with the New England Revolution, Boston Breakers, Whole Foods, We Got Soccer, Winsor School, America Scores, Valeo Futbol Academy, and more.

Together, we built a comprehensive offering that combined soccer with health education geared toward underserved urban youth. Design led the way. We researched and talked to families about the challenges urban youth face — these conversations directly informed the experience we designed for the kids. For example, we selected the Winsor School field as the place to run our programs because it was in the heart of the city — kids and parents could easily access it by walking or taking public transit.

We delivered our content and training via soccer clinics, indoor tournaments, and 3-on- 3 challenges. Soccer sessions included coaches from professional teams and colleges, and leading health organizations gave kids access to experts they wouldn’t normally have. Tony DiCicco, former coach of the United States Women’s National Team, led sessions for the foundation. David Suvak, the head coach of Emerson College women’s team, spent time talking to UMBF kids about college and ran soccer sessions for the kids with some of his college players. Boston Children’s Hospital led concussion education, Whole Foods ran nutrition and healthy eating sessions, a nurse gave kids hands-only CPR training, and CrossFit helped us combine hydration work sessions with poster-making. It was heart-warming to see the kids enjoy fresh fruits that were new to them, like apricots, tangerines, and star fruit.

In addition to designing the programming experience, we also designed and developed a line of products, with sales going to support the foundation’s work. I started with a core collection: designing a Nike athletic line of hats, jerseys, and jackets, as well as a wall calendar. For the calendar I once again asked for help. I approached designers and artists from around the country to make a piece of art inspired by the foundation’s principals. Contributions came in from Pentagram, IDEO, Design Army, Luba Lukova, Alan Dye from Apple, Chip Kidd, 2×4, UnderConsideration, and many other leading designers and firms. Everyone I asked said “Yes!” It was magical.

The poster calendar project was sold at the Museum of Modern Art in New York City and the Institute of Contemporary Art in Boston. These projects galvanized a community to help fund the foundation, and they raised awareness of our mission to bring health education to urban youth.

Design work for the UMBF calendar came from creative people across the U.S.

Able Made is Born

A year later, and based on the fundraising success of the athletic line and poster calendar I created for UMBF, I decided to work on the next collection of products to support the foundation. My search for collaborators and my never-afraid-to-ask attitude brought me to the offices of Vogue, then Rag & Bone. The founders’ of the fashion label had a passion for soccer, the perfect potential partners for products supporting UMBF. As I sat with the team at Rag & Bone, pitching a collaboration for UMBF, I realized that while they may become interested in our foundation, they were probably already passionate about their own causes. That is when the idea for Able Made came to me — to create a platform for supporting causes through thoughtful design collaborations.

I launched Able Made as an active lifestyle brand that inspires healthy living. Like UMBF, everything is design-driven. Our mission is to lead with bold product design, and give back through product sales — across the product line we give 2-25% of profits directly to causes. The brand also incorporates a commitment to responsible manufacturing in the United States, and we strive to find and develop innovative materials that have the least possible harmful environmental impact on the planet.

Collaborations fuel our impact. We’ve worked with Project Runway designers, Lifetime, Threadless, Public School, Pamela Love, the Council of Fashion Designers of America, and more — and we’ve helped support nearly 20 nonprofits including VH1 Save the Music Foundation, Pencils of Promise, Not For Sale, and others with a common mission to provide skill-building tools that empower people — just like UMBF.

The collaboration with Threadless started with meeting their founder, Jake Nickell. He greeted me at their headquarters, a converted FedEx distribution center in Chicago’s West Loop. As we passed an office made from an old Airstream trailer, walls filled with art murals, and their vast tee shirt fulfillment center, we started talking about Jake’s passion. “One thing that is very important to me is music in children’s lives,” he said. “I have a two-year-old and a five-year-old, and my five-year-old is already learning guitar.” After that meeting I aligned us with VH1 Save the Museum Foundation, a nonprofit dedicated to restoring music programs in America’s public schools, and raising awareness about the importance of music as part of each child’s education.

We created a global design challenge for a graphic tee shirt in support of music education. The Threadless community voted on our top 3 designs, the winning submission was from John Tibbott, a designer in the UK. His design was an illustration of a tree with bright leaves — the roots of the tree form the body of a guitar. The sale of the shirt raised thousands of dollars for VHI Save the Museum Foundation, which they used to increase music education in our schools.

After some great collaborations, we’ve even launched our own line of products to support causes we love — including our line of socks, the first collection of which, supported the High Line park in New York City. The collection has grown and has supported the American Heart Association, Fashion Targets Breast Cancer, and more.

Able Made Sock Collection helps support UMBF, and other non-profits, including the High Line park in New York City.

Impact on Young Lives

As Able Made grows, so does the Ucal McKenzie Breakaway Foundation — we continue to offer important support in the lives of families. When I look back on the first soccer camp with 50 kids in attendance, it’s amazing to see how the program has grown. UMBF is entering its eighth year and we’re creating a legacy of impact — to date we’ve worked with over 5,000 families. What started from a personal tragedy has grown into a powerful force for good. While there is more work to do, I’m proud of how far we have come and what we have in store for the future.

Design thinking can be applied to any area to solve problems — not just products, logos, or packaging, but also experience, education, and organizations. It has the power to help foster healthy lifestyles, build confidence and self-esteem in children, and change people’s lives. I’ve learned valuable lessons from my experience. What unfolded for me during the process of creating and building my business demonstrates the generosity, compassion, and endless reach of what the design profession can do to make life better. Design is a true catalyst for change, and a lifeline to many, including myself.

 

From Design Museum Magazine Issue 003

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Urban Office https://codesigncollaborative.org/urban-office/ Mon, 15 May 2017 18:17:11 +0000 https://codesignforstg.wpenginepowered.com/?p=17328 The post Urban Office appeared first on CoDesign Collaborative.

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Urban Office

Research at the Intersection of Workplace and Public Life

Oana Pavunev’s concept for an office building blending workplace and general public 22 amenity spaces to connect employees to the outside world.

By Kristian Kloeckl, Associate Professor, Northeastern University; images courtesy of Kristian Kloeckl

Work is an intrinsic part of human life, and as such it is deeply intertwined with the social, political, environmental, and technological context in which it takes place at any given time in history. The work people do and the ways in which they work have always been an expression of the complex interplay between these forces as they undergo continuous change. Thus, it is not surprising that places for work are also affected by these changes. For example, the pre-industrial artisan’s workshop integrated ideation, manufacture, and sale — as well as housing — all in one place. Industrial age production facilities separated planning from production, and articulated distinct work steps within large horizontal production facilities. The rise of the service sector, instead, found its expression in the verticality of high-rise office towers.

In today’s knowledge society we see networked information technologies and flexible work practices which increasingly untether people from a specific workspace. New places are dynamically turned over to moments of work at any time: a park may host a job interview, a cafe forms the backdrop for a meeting with clients, a library becomes a retreat for focused writing, a train becomes email central during a busy morning commute. At different times of the day, all of these, and other places, become as much of a workplace as the traditional office.

What this means, however, is more than a simple change in location. These ad-hoc locations for work are increasingly in public places. One would assume that workplace and public space are different in key aspects and incompatible for doing the same kind of work. An office environment represents a highly controlled environment with access control and well defined work processes. Public spaces, instead, are open to collective and unplanned participation where anything can happen. Public life is essentially unpredictable. Today’s knowledge workers appear to be drawn to this apparent contradiction. They desire to negotiate the age old distinction between the 9am to 5pm office space and life outside that time period. As work can increasingly happen anywhere and at any time, knowledge workers appear to take literal their “move to what are essentially idea factories: cities full of people” (1), embracing the encounter with the public as a productive element in overcoming a state of isolation of more traditional forms of office environments. The shifting of work beyond the controlled and isolated office space opens up modalities of work that renegotiate the boundaries between workplace and public spheres in a way that touches people’s lives more comprehensively. Nobody produces values in isolation, things and ideas become values only in their social relationship (2).

We put this emerging experimentation of mediating between workplace and public life at the center of a year-long studio titled “Situated Work + Public Life”. The studio was jointly organized, in the 2015/16 academic year, by the Architectural Design program at Stanford University and Northeastern University’s School of Architecture — in collaboration with WRNS studio — and with support from industry partners Jones Lang LaSalle, Kilroy Realty, Equity Office, CoreNet Global, Intuit, and Knoll, who generously supported the initiative and brought in their vast expertise. We investigated some of the key dynamics of work and public life, and how the intertwining of these can be framed and leveraged for new directions in workplace architecture.

Throughout these investigations the group experimented with a number of approaches to probe trajectories of change that involve work and place. These can be summed up as: 1 Data collisions, 2 Reconnaissance in friendly territory, 3 Situating science / Science in place; as well as research through design iteration and critique. What follows is a description of these approaches illustrated by specific work done by students in the studio, capturing radical change in terms of workplace actors, processes, and places.

Data collisions

Data analysis is a time-honored technique in the context of workplace planning and design. Frederick Winslow Taylor is known for his time studies for management (3), as is Frank Bunker Gilbreth for his innovative methods of motion study of work processes (4). As part of their studies, both generated data from experimentation that explored behavior within clearly defined work environments.

Today, however, boundaries between places for work and the urban public domain are becoming more fluid, and capturing behavior and dynamics within this perspective offers new challenges and opportunities: How does a city behave? How can ever-evolving urban dynamics be deliberately woven into the planning and design of workplace environments? These are questions that become relevant for a design discourse that views workplace at an intersection with public space.

As networked digital technologies are becoming increasingly deployed throughout entire urban environments and in all kinds of contexts — telecommunication, transportation, environmental sensing, etc. — data is generated in a way that is incidental to a wide range of everyday human activity. This data goes beyond information that is traditionally used for workplace planning. It is available at high spatial and temporal resolutions and can often be consulted in real-time. Data from diverse contexts can be combined to enable new perspectives and insights that can inform the design of places for work today (5).

Kelsey Rogers focused his research on the desire for a physical workout at different times during the day. As time spent at a workplace is increasingly seen as an integral part of the daily experience, the expectation of fitness amenities also permeates the workplace. Rogers, in his research, turned a common perspective upside down: Instead of focusing on the integration of fitness amenities within the workplace structure, he acknowledged the multifaceted range of opportunities for a workout already present within the urban environment. Instead of planning for a gym inside the workplace, he constructed a framework to view the entire “city as a gym.” The study investigated networks of opportunity for physical activity that are already present within the urban environment and that a workplace can relate to. In this way, a new workplace can reduce on-site fitness amenities while at the same time, fostering more participation of its workers within the neighborhood. With this mindset, the only thing a workplace is left to cater for are dress-rooms and showers. The focus of attention shifts towards mapping the network of fitness opportunities within the city in order to identify opportune locations for the workplace.

His research involved constructing and analyzing datasets on location, including the size of commercial buildings in relation to a wide range of formal and informal opportunities for fitness: A first dataset focused on the city-wide public bicycle sharing system in Boston that operates more than 1,600 bikes through some 160 docking stations. The location and size of these docking stations is adjusted over time as the bike-sharing system constantly adapts to the continuously evolving city. Another dataset was compiled by aggregating data collected from a variety of online services on location and access hours of gym facilities. While the study limited itself to these two datasets, similar data related to public jogging routes, workout group schedules in parks, schedules for public sporting events, and other initiatives could be added.

Then, combining this data with mapping access to local physical exercise in a city becomes an interesting new tool to explore possible locations for workplace buildings that tap into these existing fitness offerings without having to provide facilities of their own. These maps are not static but are based on data that continuously change, reflecting shifts in the shared bicycle system’s offerings and patterns of ridership, gym distribution and opening hours, public sport initiatives, etc. The city is in constant flux and approaches like this can help situate the changing workplace within a dynamic system of points of interest and opportunity.

Oana Pavunev generated her own intriguing dataset that focused on the different functional zones of workplace floor plans. Pavunev analyzed more than sixty workplace floor-plans developed between 2000 and 2015 in San Francisco, Silicon Valley, Boston, and some European cities. Her research distinguished between areas dedicated to work, lounge, food, activities, support, outdoor, and analyzed how the relative area of these zones has changed over time and between locations. The research clearly illustrated how in San Francisco, the relative amount of space dedicated to formal work environments decreased significantly, while areas dedicated to food, lounging, outdoors, and exercise had grown.

Based on this study, Pavunev developed a workplace architecture that leverages the idea of a hybrid assemblage of different functional zones relevant to permanent and visiting workers, as well as to the general public at all hours of the day. The project integrates a hotel, an innovation hub with prototyping facility and gallery, a conference center, and office environments. These complementary use spaces work together to turn this augmented workplace into a destination for many different groups to engage with at different times of the day. In this way the workplace not only offers workers a range of opportunities beyond work, it also becomes a functional offering to the city.

Reconnaissance

Ethnographic workplace studies are not new, yet planners and architects often continue to draw lines without having spoken to the very people they are designing for. How do people work? What do the various informal and incidental activities actually look like? What meaning do workers attach to these actions?

Ethnographers study such questions at length in research that typically involves several weeks, months or even years. This is too long a time for most planning processes. Yet, even representatives of that field of study confirm that “it is not necessary to know everything in order to understand something” (6), and that “there is no substitute for being there, on site and in person, regardless of how short the time available for doing so” (7).

Inspired by the military practice of obtaining information by inspection, observation, and surveying of enemy positions, the technique of ethnographic reconnaissance in a peaceful context regards a preliminary examination or survey to pause and look around at the site of study. It is a technique that is well suited for the fast pace of development projects and allows one to observe, as well as to engage in, open ended conversational interviews at the beginning and throughout the design and planning process.

At the outset of our study we carried out such a reconnaissance at a 100 staff strong workplace in Boston, spending four hours on site. We observed and documented people’s activities and interactions as they practiced their work. We noted spaces, tools, information supports, and how these formed part of the various interactions. After initial observations, the group conducted a series of non-directed interviews in small groups. We asked, “What do you do? How? Why?…” while discovering meanings, concerns, fears, and desires in people’s ways of work.

Finally, a series of proposals for change was generated based on this reconnaissance. Changes to spatial arrangements, structures, informational flows, modes of accessibility, etc. These proposals were “cultural probes,” a technique adopted from the design domain, used to open up a design space through imagination, association, and aspiration.

One such “cultural probe,” developed by Adrian Harrison, was based on the observation of how work has begun to infiltrate public spaces throughout the city. Harrison adopted a view of workspace as infrastructure in his work. Besides workers moving beyond the boundaries of their traditional workplace, in Harrison’s vision the workplace also moves beyond these boundaries to form a distributed network of “work pods” that are disseminated across the 100 Acres site in Boston’s Seaport district. The pods are equipped with everything a single mobile worker might need and were inspired by a project for reuse of London’s red phone booths, retrofitted with a bench, a work surface, network and electricity outlets as well as screen, printer/scanner, and the obligatory tea and coffee maker.

 

Science in Place

Designing places for work based on perspectives and investigations, such as those developed as part of this initiative, means looking at the interplay between people, place, and practice in new ways. Issues inherent to all three of these poles are being studied across a wide spectrum of domains. Planners, architects, and developers have an opportunity to connect to domain specific inquiry and translate insights for the design of workplaces able to foster the multiple ways in which people wish to work.

As an example, the work done by Adriana Tzigantcheva investigated the human circadian rhythm – the daily cycle between periods of alertness, activity, and sleep. Conventional 9am to 5pm office hours are still based on past requirements of shift work that have little in common with today’s irregular work hours typical of knowledge workers. Furthermore, the circadian rhythms of today’s knowledge workers are far from uniform themselves. Tzigantcheva brought research on human biological rhythms into the discussion on workplace, and articulated a novel and rich framework for design. Beyond the 24-hour day-night cycle, there is a wide range of events that impact the human circadian rhythm of sleep and activity. Parents of infants have their deep sleep cycles interrupted by cries of their little ones, disease and stress can shift sleep or activity patterns, and travel across time zones alters a day’s duration and upsets habitual routines, just to name but a few. As the volume of business travel continues to increase, the impact of jet-lag increasingly also impacts human wellbeing at work.

In hi study, “Biological Rhythms” psychologist Alan Hedge illustrates that the impact of jet-lag is not limited to the time zone difference alone – the time of flight departure matters significantly as well. For example, to recover from jet-lag after a Boston-to-London flight with a departure at 10am takes 20 hours, while the recovery period for the same flight route with a departure at 10 pm increases by 80% to 36 hours. Evidence-based studies provide a formula to calculate this kind of recovery period and Tzigantcheva leveraged that by proposing a framework for workplace design that integrates dynamic scheduling and adaptive spatial qualities of a workplace. The design proposal based on her research consists of a workplace architecture that embraces the fact that different workers will find themselves at different circadian rhythm modes at different times of the day. Different zones cater to these different modes of activity or rest by carefully crafting sound and light conditions. Tzigantcheva quite literally folded the world’s time zones inside the workplace to allow workers to align themselves to the zone that best fits their personal and unique state of rest or activity at any one time.

These domains of study — applying data analysis and social science to design — examine the human condition in ways that provide opportunities for workplace designers to enrich the overall experience of work. The three research approaches illustrated here are meant to serve as examples for investigating the condition of work in a way that provides rich ground for the design of workplaces that are relevant and meaningful. As the nature of work is undergoing radical change that involves its actors, processes, and place, the ability of planners and designers to construct new approaches and methods to comprehend and interpret these changes in their work is now more important than ever.

Sources

  1. Enrico Moretti cited in Kevin Money, “Why Millennials Still Move to Cities,” Newsweek, Mar. 30, 2015.
  2. Hannah Arendt, The Human Condition. University of Chicago Press, 1958.
  3. Frederick Winslow Taylor, The Principles of Scientific Management. New York, London: Harper & Brothers, 1911.
  4. Frank Bunker Gilbreth, Motion Study : A Method for Increasing the Efficiency of the Workman. New York: Van Nostrand, 1911.
  5. Kristian Kloeckl, “The City as a Digital Public Space – Notes for the Design of Live Urban Data Platforms.” Decoding the City: Urbanism in the Age of Big Data. Eds. Dietmar Offenhuber, and Carlo Ratti. Basel: Birkhäuser, 2014. 82-95.
  6. Clifford Geertz, The Interpretation of Cultures, 1973, p.20. 7Harry Wolcott, Ethnography: A Way of Seeing, 2008, p.210.

From Design Museum Magazine Issue 003

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