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Title S e rvice Design p e d a go gy a n d effec tive s t u d e n t e n g a g e m e n t: Ge n e r a tive Tools a n d M e t hods

Type Article

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Cit a tion Ali, H e n a a n d Grim aldi, Silvia a n d Biagioli, Mo nic a (201 7) S e rvice Design p e d a go gy a n d effec tive s t u d e n t e n g a g e m e n t: Ge n e r a tive Tools a n d M e t hods. The Design Jour n al, 2 0. S 1 3 0 4-S 1 3 2 2. ISS N 1 7 5 6-3 0 6 2

Cr e a to r s Ali, H e n a a n d Grim aldi, Silvia a n d Biagioli, Mo nic a

U s a g e Gui d e l i n e s

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ServiceDesignpedagogyandeffectivestudentengagement:GenerativeToolsandMethods

HenaAlia,SilviaGrimaldib,MonicaBiagiolicaUniversityofWestminster,LondonbLondonCollegeofCommunication,UALcLondonCollegeofCommunication,UAL*Correspondingauthore-mail:[email protected]

KeyTerms:ServiceDesignEducation,GenerativeMethods,Pedagogy,StudentEngagement,Complexity,Simplicity,Meaningfulness

Abstract:Thispractice-ledinvestigationevaluatesthreegenerativedesigntoolsforactiveandtacitstudentengagementwithpostgraduateServiceDesignstudents,andtheirimpactonthestudents’approachtocomplexdesignprojects.InServiceDesigneducationgenerativedesigntoolshavearobustpedagogicalroleforefficientknowledgecreationandstudentengagement,yetarestillunder-exploredacademically.TheLearn’n’linkmethoddelineateslearningasaninteractivedialogicpracticeforcreativeideaconceptualisation.TheZineMethodisavisualethnographyapproachthatcanbeappliedholisticallytoframetheproblemarea,proposeawayforward,andprototypethesolution.TheNarrativeToolkitenablesstudentstodiscussandcritiquethenarrativepropertiesofexistingdesignsandenvisiondesignoutcomes.ThestudentsthenusetheZineMethodtoqualitativelyevaluatethemethods’contributiontotheirunderstandingofcomplexdesignproblemsandserviceuserexperience,andtheirfunctioninbridgingthegapbetweenuserresearchandgenerativedesignprocesses.

1.Introduction

ThisexplorationofServiceDesignpedagogicalmethods,aswellasqualitativedesignresearchapproaches,developsgenerativepedagogicalmethodsandteststhesewithservicedesignstudentsinastudioenvironment.Thestudyisledbydesignacademicsthatarepracticingdesigners,designresearchersandsocialinnovators,aimingtocontributetothediscourseontheemergenceofservicedesignpedagogy,andvalidatinginnovativedesign-ledmethodswithinServiceDesign(Servicedesigncolloquiumparsonschool,2013).

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Studiobaseddesignpedagogyengagesstudentsandtutorsinpractice(Shreeve&Batchelor,2012)andisembracedas‘constructed,self-regulated,situated,andcollaborative’practiceinformedbydesignthinkingasateam-basedlearningprocess(Scheeretal.2012).ServiceDesign,asanemergingdiscipline,drawsonmultidisciplinarypracticetostrategicallydevelopinnovations.ServiceDesignPegagogythoughisstillunder-exploredacademically(Sanders.2002,Gaver.1999),methodsareevolvingrapidly,andgenericmethodsinformedbytraditionaldesignpedagogicalpracticeareemployedforknowledgedisseminationandcreation.InServiceDesign,whichprimarilyfocusescreativity,experimentationandinnovationinthepublicsphere,theconsiderationofgenerativetoolscansupportquestions,buildingaframeworkfordesignpracticeandreflection.Alotofmethodsareadaptedfromtheservicedesignindustryintopedagogicalmethodsforservicedesign.Similarly,thisresearchre-appropriatestraditionalgenericdesignpedagogytocustom-designthreestructuredcollaborative,experimental,generativedesignmethods,withtheaimofexploringeffectivestudentengagementintermsofattention,retentionandinnovativeprocess.WithinServiceDesignpractice,generativedesigntoolshavearobustrolemapping,defining,developinganddeliveringeffectiveandsustainableservices.Thisresearchdevelopsthreecustomisedgenerativedesignmethodswithaninnovativepedagogicalroletotestefficientknowledgedisseminationandstudentengagement.LearnnLink,NarrativeToolkitandZineMethodsdelineatelearningasaninteractivedialogicpractice;thesemethodsdrawonindividualcapacityaswellascollaborativeteamdynamicsenablingthestudentstoprocessinformationwithtime-basedknowledgemapping,connectingandanalysingactivities(Learnn’Link).Theyallowstudentstodiscussandcritiquethenarrativepropertiesofenvisioneddesignoutcomes(NarrativeToolkit).Inadditionthesemethodsallowthestudenttocreativelyvisualisetheproblemareaandsolutionandrecordemotionindecision-making(ZineMethod).Thepracticeidentifieswiththenotionofculturalmapping(Duxbury2016);an‘actionjourney’undertakenspecificallythoroughstructuredmethodstoidentifyandinvestigatethecomplexcontextwithinwhichservicedesignoperates.Thesemethodstakethestudentsthroughastructuredjourneytoabsorb,assessandmapknowledgecreatively;tocreateinnovativetransformationstrategiesandservicesthroughdeepreflection.

2.Design-ledEvaluationFrameworkTheHigherEducationAcademyUKreportstheterm‘studentengagement’,basedondefinitionsintheliteratureandthediscussionofthecharacterofengagementanditsalternatives,summarisedbelow:

Studentengagementisconcernedwiththeinteractionbetweenthetime,effortandotherrelevantresourcesinvestedbybothstudentsandtheirinstitutionsintendedtooptimisethestudentexperienceandenhancethelearningoutcomesanddevelopmentofstudentsandtheperformance,andreputationoftheinstitution(Trowler,HEA,2010).

WithinServiceDesign,wherestudentscomefromdiversebackgrounds,weareconsciousofmakingassumptionsbasedontraditionaleducationmodels.Designthinkinginthiscontextisusefultoengagestudentscreativelywhilelearninganddesigningreflectively.Theresearchersobservedengagementin


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responsetothemethodsdesigned.Themethodspresentedherewerespecificallydesignedtodrawonthepracticeofknowledgetransferinthecontextofco-design,organizationallearning,activelearning,convertingtacitknowledgetoexplicitknowledge,collaborativeknowledgeconstruction,peer-to-peerlearningandlearning-by-doing.Engagementandcreativitywasassessedqualitativelyusingreflectiveinsights,narrativesaroundthelearningexperience,andzinesasholisticandsubjectiverecordsofthelearningexperience.

3.LearnnLinkLearnnLinkisatwo-stepcontextmappingmethodforprofessionalServiceDesignprojects.Fromadesignpedagogyperspective,themethodistestedatdesignbriefstageforcreativeideaconceptualisation.Ithelpsfacilitateidentificationofallegedissueswithinadesignbrief.Themethodisdesignedtofacilitatestudents’instinctiveimpressionstobecollatedanalyticallyintothematicdesigninsightsusingasystematicformat(LearnnLinkCanvasFig:3).Themethoddrawsonreflexivityforcreativeknowledgegenerationandisexaminedwith14ServiceDesignandInnovationstudentsinUKtounderstandefficacy.LearnnLinkmethodiscarefullystructuredwithinanoperationalframework(Fig:1)whichhelpsmapinformationinvisualthematicclusterstoidentifyproblems,issues,andactionpointsasinitialservicedesigntouchpoints.ForthispaperLearnnLinkwastestedindesignstudiosetting,asaclasspresentation,tokeepitfocusedandmeasurableforevaluationpurpose.

DesignBrief(Information/Data)

Collating

Processing

Identifying Mapping

InitialAssumptionsDesignQuestions

DesignInitiatingpoints(Information/Data)

}{Figure1:LearnnLinkframework

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Traditionallydesignstudentsarerequiredtoresearchadesignbriefbymapping,absorbing,processingandreflectingcreativelylargechunksofinformation.Thiscanbechallengingtoprocessespeciallywhenlargecomplexdatacreatesconfusionandpressurehencestudentsloseengagement.Toaddressthis,LearnnLinkisspecificallydesignedtoturnconfusiontoanactivelearningexperiencebyusingstructuredword-popandknowledgemappingactivities.Themethodhelpsgeneratevisualsemanticmapsasgraphicstructurestodisplaymeaning-basedconnectionsbetweenasetofconnectedactionsanddesignconcepts,whilstretainingfullstudentengagementthroughoutthesession.Themethodcommenceswithindividualactivitiesseamlesslytransitioningintoagroupactivity.Thisallowsstudentstograduallyprocessandanalyseknowledge.Withinstudiosetting,students’workwithspecifictimeframestorespondandtimeismonitoredwithmusic.

3.1:Learn(individual)Activities

What

Activelearningasaninteractivedialogicpractice

How

Byusingword-popactivitytoidentify,mapandlinkinginformationintheshortestpossibletime

Why

Tosemanticallyidentifyandlinkthematicstrandswithinaprojectafterinitialprojectintroductionwithindesigndiscoveryphaseasperdoublediamondprocessmodel

Who

MDesServiceDesignstudents

Why

Resultingvisualsemanticmapseffectivelydisplaymeaning-basedconnectionsbetweenasetofrelated:designobjectives,actionsandconceptsasexplorationpointsthatleadstomorefluidopenideationphase

Studentsarebriefedabouttheactivitybeforepresentationofdatathroughapowerpointpresentation.Theyareaskedtothinkaboutissues,actionstaken,actionsneedtobetaken,probablesolutionswithinthefollowingcategories(Table:2).Theyaskedtonotedownasmanyrelevantwordstoactionordescriptivewordsappearingrelevanttodesignchallengeintheirnotepads,innospecificorderatthispoint,duringthepresentation.Theyareespeciallyinstructedtocreaterichlistsofasmanywordsas

Table1:ThePracticeFramework


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possible.Thewordsarethenorganizedinlistsusinglargesheets.Asatime-basedactivitythishelpstoinstinctivelyabsorbprocessandreflectondatabyrapidgenerationofkeyword-listsusingLearnnLinkCanvas(Table:2)

Positives:ExistingorSuggested

Negatives:ExistingorSuggested

Factors

Impact

Action

Factors

Impacts

Actions

3.2:LinkActivities(GroupActivity)

Stage1Learn:Processing-Identifying(Individualmappingactivity)

UsingLearnnLinkCanvasDevelopakey-wordbankindiaries/notepadsfromdatapresented.20minutespower-pointpresentation.5minutestoenrichlistwithmorewords

Whatistheproblem/issue

WORDSONLY

Whyitexists:factors/gaps

WORDSONLY

How:Actionsthatarethere,orcouldbeapossiblesolution/solutions

WORDSONLY

Table2:Stage1

Table2:LearnnLinkCanvas

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Stage2LinkMapping-Collating(Acollectivegroupactivity)

CollectivelyIdentify,Strategise,Conceptualise

Addasmanywordstothe4lists.

WORDSONLY

Identifyconnected-words Forproblems,actions,solution,andreasonsfromwhatyouarebeingshowninresponsetothedesignchallenge

Breakthelistsandre-makethematically

Whateverthemesareevolvingfromlistsgeneratedinearlierstage.Itcouldbeanything,noframingatthispoint

Organizethematically

Actionimpactsfromlistsandaddyourownideasintheformofyourownwordstocreatemorevolumeofideas.

Discussandbrainstorm. Thinkofissuesandproblemsandinresponseidentifypossiblesolutions(atleast5)

Identify Designquestions,Researchquestionstotaketheresearchforward

Discussanditerate,Discussanditerate.

Discussanditerate,Discussanditerateissues,challenges,possiblesolutions,researchquestion-insights,designfeasibilitiesassolutionstobedevelopedandtested

Prioritize

Mosteffectivesolutionsonthescaleof1-2-3-4-5

Suggest Pitchingpossibledesignopportunities/solutions(minimum3-maximum5).Identifynextdesignstage(Grouppresentation)

Identify Nextdesignphase(Grouppresentationwiththedatagenerated)

Table3:Stage2


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Stage1:KeyWords Stage1:Structuring

Stage2:ThematicClustering Stage2:DesignInsights

Stage2:Strategise Stage2:InitialPitch

Figure2:LearnnLinkStructuredTwoStageActivities

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Duringthesecondstagestudentsareinstructedtobreakintogroupsandusebigsheetsofpapertocombinetheirlistsandgetmorevolumeininsights.Theyareaskedtoidentifythemesasdesigntouchpoints,collateandconnectinsights,developfuturescenariosanddefinedesignfeasibilities.Towardstheendofthesessiontheyareaskedtopitchfivepossiblesolutionstobefurtherdevelopedinthenextstage.Eachactivityhasasettimeduration,whichissignaledthroughmusic.Studentfeedbackwasrecordedafteraweekofthedesignsprint.Theyrespondedtoopen-endedquestionsregardingtheirlearningexperience.Thequestionswerestructuredaroundeasewithsimplificationofcomplexdataandinformationcomprehension,interestandretention,designinsightsandideageneration,collectiveandindividualcreativeexperience(teamdynamics).Evenafteraweek,thestudentswerequiteexpressiveabout‘achievingalotinsuchashorttime’.Theyreflectedonhowthelearningexperiencefeltinterestingandengaging.Mostofthemreportedaninitialfeelingofdiscomfortatbeingaskedtoworkinanunconventionalthinkingoutoftheboxmanner,howevertheyquicklyre-adjustedtotheexperience,easilyfollowedinstructionandcreatedrichlistsofkeywords.Theyadmittedthattheunusualwayofworkingturnedintoaninterestingandausefulwaytodevelopcreativeideas.Usingword-mappingactivitiesdemonstratedtothemhowseeminglyspontaneouslygeneratedsemanticmapshelpedgraphicallydisplaymeaning-basedconnectionsbetweenobviousknowledgeandasetofcreativedesignactionswithouttoomucheffortandstress.Theseamlesstransitionofthelearningfromindividualexperiencetoteamworkhelpedthemunpackobservationsandinsightsfromthepresentationcollectivelyanddevelopdesignleads.Thestudentreportedhowtheclarityinunderstandingthecontext,issues,challenges,andstakeholder-needs,ascreativedesigntouchpoints,madeiteasytoreflectoninitialsolutions.Thestudentsalsosharedhowtheyappliedthemethodtootherdesignbriefsforothermodulesandfounditveryuseful,creativeandeasytoapply.Onestudentquoted“HowImissedtheclassandfeltbadlaterasoneofmyfriendstoldmehowtheyworkedwithmusicanddevelopedsomegreatideas.Itwascreativeandfunwaytowork.”Anotherstudentreported“Iwasconfusedfirstwhenaskednottothinkandjustfilterwordspoppingout,butlaterIthoroughlyenjoyedreactingto,andprocessingideas,instinctively”.


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4.NarrativesinDesignToolkitTheNarrativeinDesignToolkitisbasedontheGrimaldietal.’sNarrativesinDesignframeworktoanalysethewaysinwhichnarrativesareusedindesign(Grimaldietal.,2013).Narrativeisusedquitealotinthehuman-centreddesignprocess,throughmoreubiquitousmethodssuchasdesignethnographies,userpersonas,orproductnarrativesattachedtobrands,butthecontributionofthenarrativequalitiestothedesignarenotpreciselydefined.Inaddition,narrativeiscentraltothewayweinterpreteventsandthewayweassimilatetheseintoourownlifestories.NarrativesinDesignToolkitisacardsetwhichre-elaboratesandsimplifiestheframeworkdescribedinGrimaldietal(2013),dividingitupintofivecards,Who,What,Where,WhenandWhy.Itisamethodtobothanalysethenarrativefeaturespresentinexistingdesignsandtogeneratenewdesignworkbasedonitsnarrativequalities.Thismethodhelpstalkaboutthewaysinwhichdesignmaybeinterpretedinanarrativewayandenablesalanguagetotalkaboutnarrativefeaturesofdesignworkbothinananalyticalcontextandwithingenerativephasesofaproject.Whenusedinagenerativeway,thetoolkithelpstoenvisionhowadesignoutcomemaybeinterpretedinanarrativemanner,beforethedesignhasbeengenerated.TheToolkitthereforeallowsdesignerstorefineabrieftothepointofaconcept,inaveryhuman-centredway.Servicedesignisparticularlytiedtonarrativebecauseofitsuser-centredapproach,itsrelianceonnarrativeformsofuserresearch,suchasethnographyandexperiencemapping,andthefactthatservicesarenecessarilyexperiencedovertime,andnarrativeisthemechanismweashumansusetomakesenseoftime-basedevents(Abbott,2008).Narrativeisalsoparticularlygoodatconveyingcomplexsetsofinformationthatneedstoberemembered(Lloyd,2000),aswellasempathisingwithpeople(WrightandMcCarthy,2008);thesearebothparticularlyimportantaspectstoservicedesignprojects.

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Table4:NarrativeToolkitOperativeFramework


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Figure3:TheNarrativeToolkithelpsstudentstoenvisionhowadesignoutcomemaybeinterpretedinanarrativemanner,beforethedesignhasbeengenerated

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FourteenServiceDesignpostgraduatestudentsparticipatedinthetwo-hourworkshop.Theywerefirsttrainedinusingthecardsbydescribingtheirownexperienceofaservice,andthenanalysedthisnarrativewiththeToolkit.Followingthis,studentswereaskedtowritedownallthenarrativesthattheyhadaccumulatedthroughthefirstphasesoftheircurrentproject,whichinvolvedfocusgroupswithserviceusersandproviders,andanalysethesenarrativesusingtheToolkit.InthefinalstageoftheworkshopstudentswereaskedtousetheToolkittodefineanarrativeaboutthefinaloutcomeoftheproject,thusdefiningthewayinwhichthisservicewouldcommunicatetousersandwouldbereceivedbyusers,beforedefiningwhattheserviceactuallyis.Thisnarrativecouldbewrittenfromanystakeholder’spointofviewandoutlinedwhattheconsequencesoftheprojectwouldbeasopposedtowhatformtheprojectwouldtake.ThisinpartmimicsthetechniqueusedinInvisibleDesign(Briggsetal.,2012),withthetoolkitaidingintheconstructionofthatenvisionednarrative.Observationsduringthesessionshowedthattheinitialexercisewasnecessarytounderstandingthemethod,asalotofquestionswereaskedandclarifiedthroughthisphase.Themajorityofstudentswereabletousethecardsasananalytictool,withsomestudentsrequiringfacilitationinthistask.Whenitcametousingthetoolasagenerativemethod,studentswereabletoimmersethemselvesinwritingthenarrative.Observingtheresultsthatweresharedattheendofthesessionitisclearthatengagingwithanarrativefromaparticularpointofviewenabledstudentstoidentifyidealoutputsoridealfinalsituationsfortheprojectaswellasenablingstudentstoempathisewithdifferentstakeholders.Fromtheinformaloralfeedbackattheendofthesessionandtheformalfeedbackcollectedfromthezinesitemergedthatseveralstudentswereabletousethistooltoenvisionwhattheeffectsofthefinaldesignoutcomecouldbeonthedifferentstakeholdersandhencehadabetterideaofwhattheycoulddesigntogetthedesiredeffect.Someofthesestudentsreportedthisbeingthefirsttimetheywereabletoenvisionanoutcome.Moststudentsalsoengagedinthewayinwhichafinalserviceoutcomecouldbepresentedbacktothedifferentstakeholders.


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5.ZineMethodTheZineMethodutilisesamulti-pagetechniquefromthegraphicarts,thezine,asaspacewhereelementsofaproblemareaorasolutioncanbemappedviathevisualplane.Goingbeyondthesinglepageformat,thezineallowsformulti-pageandmulti-dimensionalexpressionstocomeintocontactwitheachother;forexamplevisualnotionsthathavenotbeenconnectedinthemindoftheparticipantcanbejuxtaposedviathisapproachwhilestillretainingtheirindividualintegrityinthesinglepage.ThezineformatappliedherewasdevelopedbyBiagioliandco-designedwithAllanOwensandAnnePässiläforapplicationduringtheIFKAD2016conference(Biagioli,Owens,andPässilä2016).Thisformatallowsfornotationstobemadeonthesinglepageplane,sothatfocuscanbeappliedtothesingularityofthatimage,whileatthesametimeallowingforanoverviewoftheprojecttohappenviathecutsandfoldsbuiltintotheconstructionofthezine.Theseallowformultiplewaysofstructuringand’reading’theinformationandforvariousjuxtapositionstobemadedependingonproximityofspreads.Thereisanelementofchancebuiltintothisdesignthatfreestheparticipanttemporarilyfrommakingcausalrelationshipsbetweenelements,andallowsthoserelationshipstoemergedependingonhowthestructureispresented.Itisamethodthatencouragesintentionalplay,muchlikeagameorapuzzle.ViatheZineMethod,complexsetsofelementscanberepresentedinonepackage(thezine)lettingideasemergefromtheactivehandlingofthepapermatter;byfoldingindifferentways,bysettingupthezineintoathree-dimensionalstructurethatreferstoalargerconcepttakingshapeinthemindoftheparticipant.Itisanemergentframeworkthatexpressesasanactiveprocessthesubjectiveengagementwithcomplexityandambiguityinproblemsolving.Becauseofitsplayfulformat,thestudentsfirstengagedwiththezinebyfoldingandunfoldingit,tryingtofigureoutthepossibilitiesofitsconstruction.Theresearcherexpectedstudentstoapplyvisualssingularlyoneachpageandthenallowforallthosesingleexpressionstocometogetherinavarietyofadhocconstructions.Instead,amajorityofthestudentsworkedoutaholisticconceptforthezineandusedthesinglepagestorepresentthevarious,complexelementswithinthatstructure.Thistooktheformatintonewapplicationsnotexpectedattheonsetoftheresearchsession.TheMAstudentsappliedtheformatinthreekeywaysasanactivepartofpresentingtheircurrentprojectsonthecourse:usedasamaterialprototype/visualaidtovisuallyexpresshowthestudentframestheproblem(Shaika);usedtodemonstratehowthestudentisgoingaboutsolvingtheproblem(Tritra);usedasanactualearlyversion,roughprototypeoftheoutcomeintendedfortheproject(Jeff).TheZineMethodprovedtobeastrongvisualisingtool—amethodofpaperprototyping—thatallowedthestudenttomodeltheproblemareaand/oritssolutionandusethatmodelasanactiveelementofpresentingtheidea.

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Figure4:MethodConstruction


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DuringtheZineMethodsession,studentswouldreportbackonhowtheywereusingthemethodwithoutpromptingandtheresearcherrecordedthesereflections.Attheconclusionofthesession,wewentoverasagroupthekeyusesoftheZineMethod.•Mappingtheprojectahead(prototype)•Emotionalrelationshipsmap/record(uncertainties)•Findingrelationshipsoutofrandomplacements

Mapping emotions during project through drawing. Signe. Detail from her conclusion zine. 2016

Framing the problem. Shaika. 2016

Solving the problem. Tritra. 2016

Prototyping the solution. Jeff. 2016

Reflecting on emotion. Signe. 2016

Figure5:MappingEmotions

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•Usingformofzineasmetaphor(ahouse,forexample)•Brainstormingaroundatheme•Storytelling—useascommunicationtool•Focusofeachmemberofateam•Whatisgoingonwithyourself•Connectdisconnectedelements•Thejuxtapositionsoftheformatworkreallywell•Nicemethodtomixitup•EmbracetheuncertaintyThesecanbegroupedintothreecategories:Awaytoprogresstheprojectiteratively.Thisisdonebyapplyingtheformattomaptheprojectahead;useitasmetaphor;brainstormideasaroundonethemeontheformat;andcreateanarrativethroughitthatoperatesasacommunicationtool.Awaytoreflectsubjectivelyonownengagementwiththeprocess/project/teamworking.Eachzinecanfocusonvariousmembersofateamtoidentifytheirpositionandcontributiontodevelopingproject.Itcanserveasaself-reflectiontool;“whatisgoingonwithyourself”Asacontainedwaytoaddresscomplexityandambiguityinsolvingaproblem.Itcanmapandrecorduncertaintieswithintheprocessandhowemotionplaysaroleindecision-making.Itcanhelpfindrelationshipsoutofrandomplacementsandconnectelementspreviouslydisconnected.Thestudentsgenerallycommentedthatthejuxtapositionsoftheformatworkreallywelltomixthingsupatkeypointsoftheprocessandhelpthedesignerembraceuncertaintyatkeystagesofaprocess.Thiswasthefeedbackemailedtotheresearcherbyoneofthesessionparticipants(Anupa):“Our[project]groupusedthezineasoneofouriterativemethodswherewecreatedanotherone.Couldunderstandtheprocessbetter.1.Agreatiterativemethodwhichhelpslinkunrelatedideas.2.Theformationofmultipleideasatonesessionhelpsyoutimemanagebetter.3.Thethemesthataregenerated,areeitherstrongorweak,soithelpstheindividualorgrouptodeliberate,articulateandgenerateconstructively.4.Multiplezinescanbeusedattheprojectandsession,eitherwithsimilarthemesorunrelated.Theinferencesleadtobetterinsights.HelpsinCocreation.5.Ifeelthezinemethodologyissimilartotheagilemethod-theprocessofcreationtoexecutiontoinsightbuildingtorevisiting.”Twoparticipantsusedthezineformattodocumenttheiremotionalstateduringtheproject,anduseditaswelltomaptheemotionalstateofthosetheyinterviewedaspartoftheirworkontheproject.Thisis


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akeyapplicationofthemethod,astherearesofewopportunitiestoproperlyaccountforemotioninprojectdevelopmentandevaluation.

5.Conclusionsanddiscussion

Thethreemethodsengagewithcomplexity,drawingonemotionandsubjectivitytofomentstudentinvolvementwithaprocessandactivelyengagecreativityforservicedesignpedagogy.Theresearchersdesignedthispedagogytobringdesignskillsandknowledgetotheforegroundasintegralcomponentsoflearningandexperimenting;enhancedstudentengagementthroughinnovativeteachingmethods;andasdemonstratedinthefeedbacksessions,providedaricherlearningexperiencesoastogenerateadeeperunderstandingofproblemareaandsolutionforthestudentsinvolvedinthesessions.

Figure6:Allthreemethodsemployedasamethodologyforeffectivestudentengagementandsustainabledesigngeneration

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Ourcontributionisinthreekeyareas:addressingcomplexity,addressingpersonalpointsofviewandnarratives,andacknowledgingtheroleofemotionintheprocessofanalysis.Servicedesignprojectsarecomplex.Creativeteachingfacilitatesunderstandingthroughtheorganisationandinterpretationofprojectinformationandencouragesconnectionstoemergefromtheprocess. Thekeyelementistobreakupthebrief/initialinfo/textandpulloutinformationthatcanhelpinitiatetheresearchfromaninformedbaseline(discoveranddefinephase)tothemoreopenandcreativeideationofdesignoutcomes(developphase).Engagingwithnarrativesintheprocessofenvisioningdesignoutcomesallowsstudentstoeasilyempathisewithstakeholdersandinterpretthedesignfromtheirpointofview.Thezineconstructionfomentsexplorationoftheprojectspaceinallitsfacets,andalsoallowsforprototypingthesolution.Personalperspectivescanbeexpressedviafolds,cuts,andplacementinthreedimensionalspace.Allthreemethodscanbeespeciallyusefulwhenthereisconflictoraprojecthasstalled.Emotionsaremadevisibleandcaninthatwaybeapartoftheanalysisatkeyjuncturesintheproject.Ifforegroundedattheverybeginningofaprojectforbothstakeholdersanddesignersbystructuringinteractionstoaccountforthem,thentheiremergencethroughouttheprojectcanbebettermanaged.Thisisakeyfinding,astheemotionaldimensionisoftennotcapturedintheanalysisprocess,andyet,itisakeycomponentindecision-making(PässiläandOwens2016;Gill2016;Damasio2000).Usingonlyonemethodforevaluationatthecompletionoftheproject,thezinemethod,workedtoreinforceideasthroughthemethod.Findingsrelatedmoretoitsapplicationanditisbelievedbytheresearchersthatthiswasaformatbias.Thefindingfromthisisthatinfuturetestingofvariousmethodswithonegroup,theresearcherswouldmakeallmethodsavailableforconclusionsandevaluation;inthiswaygivingtheparticipantcontroloverthewayfindingswouldbeorganisedandpresented.Thiscouldinturnallowforhybridisingofmethodsattheevaluationstage,perhapscombiningallthreeinoneformat.

ThisinitialresearchsuggeststhatthesemethodshavealotofpotentialtofillspecificgapswithinServiceDesignPedagogy.ThenextstepsinthisprojectwillbetocontinuetestingandrefiningthesemethodsbyembeddingthemthroughoutprojectworkonanMAinServiceDesign,continuetotestapplicabilitytootherprojectswithintheservicedesignfieldandcontinuetoidentifypedagogicalgapstoaddressthroughdesignmethods.


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Sanders,E.B.N.(2002).Fromuser-centeredtoparticipatorydesignapproaches.InFrascara,J.Designandthesocialsciences:Makingconnections.London:Taylor&FrancisServicedesigncolloquiumparsonschool).Shreeve,A.,&Batchelor,R.(2012).DesigningRelationsintheStudio:Ambiguityanduncertaintyinonetooneexchanges.DesignandTechnologyEducation:anInternationalJournal,17(3).Scheer,A.,Noweski,C.,&Meinel,C.(2012).Transformingconstructivistlearningintoaction:Designthinkingineducation.DesignandTechnologyEducation:AnInternationalJournal,17(3).(Service)DesignProcessModel(DesignCouncilUK)Wright,P.,McCarthy,J.,2008.EmpathyandexperienceinHCI,in:ProceedingsoftheSIGCHIConferenceonHumanFactorsinComputingSystems,CHI’08.ACM,NewYork,NY,USA,pp.637–646.doi:10.1145/1357054.1357156Trowler,V.(2010).Studentengagementliteraturereview.TheHigherEducationAcademy,11,1-15http://servicedesign.nyc/news/parsons-service-design-pedagogy-colloquium/https://innovationenglish.sites.ku.dk/model/double-diamond-2/

AbouttheAuthors:

HenaAliHenaAliisacommunicationdesigner,innovator,journalreviewer,andaseniorlectureratUniversityofWestminster,London.SheisafellowoftheRoyalSocietyofArts,London,andholdsapractice-ledPhDin‘CommunicationDesignforSustainableSocialInnovation’fromCentralSaintsMartins,UAL.SheisanexperiencedleadershippanelexpertandkeynotespeakerfororganisationssuchasHigherEducationAcademyUK(2014),BritishCouncilUK/Pakistan(Todate)andCommonPurpose,UK(2015).Hercurrentteaching&researchinterestsexploreinterdisciplinary/cross-disciplinaryexperimental&generativedesignmodelsfordesignpedagogy,andcollaborativedesignprojects.Currentlysheisengagedinexploringcollaborativetoolsfordesignpractice&researchwithdesigninstitutionsinUKandPakistan.

SilviaGrimaldiSilviaGrimaldiiscourseleaderoftheMAServiceExperienceDesignandInnovationatLondonCollegeofCommunication,UniversityoftheArtsLondon.Herresearchfocusesonproductexperienceandinteractions,narrative,surprise,andemotionaldesign,aswellasdesignpedagogy.SilviawrotechaptersincludedinTheRoutledgeHandbookofSustainableProductDesign(2017)EditedbyJonathanChapman,inExperienceDesign:ConceptsandCaseStudies,editedbyPeterBenzandpublishedonBloomsburyAcademicandinDesign&EmotionMoves(2008),editedbyPieterDesmet,JeroenVanErpandMariAnneKarlsson.ShehaspresentedpapersatDPPI2013,DesigningPleasurableProductsinNewcastleUK;NORDES13,NordicDesignConferenceinCopenhagen;DesignandEmotion


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conferencesinLondon(2012),HongKong(2008)andSweden(2006)aswellasattheDeSForMconferenceatNorthumbriaUniversity(2008).

MonicaBiagioliMonicaisafellowofRoyalGeographicalSociety,amemberoftheInternationalAssociationofArtCritics,amemberofthePhotographyandtheArchiveResearchCentre,andseniorlectureratLondonCollegeofCommunication,UniversityoftheArtsLondon.Shehasinterlinkedpracticeandtheorythroughouthercareerwithanemphasisonculturalheritageandsocialvalue,developingprojectsonLondon2012,andforRadarProject,Cybersalon,andAntiDesignFestival.SheiscurrentlycollaboratingwiththeRECAPResearchCentre,applyingartsanddesignapproacheswithintheorganisationalcontext.HerchapteraddressingthatworkispublishedinthebookIntegratingArtandCreativityintoBusinessPractice(2017).

Acknowledgements:Thankyoutothestudentswhotookpartintheworkshops.

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