Adrian Hill Archives - Osmos2022

Planning with empathy: Tools to guide complex design processes

Julia Rocha — Wed, 30 Nov 2022 09:51:23 +0000

/// Publication

Adrian Hill

Spatial design and territorial planning is increasingly confronted by complex challenges that could be mitigated through a service oriented approach to design.

Service design is a growing discipline that helps transform how products, services and digital experiences are delivered. Spatial design disciplines, such as urbanism and architecture, have much to gain from these methods and approaches – offering constructive ways to deal with complexity and deliver projects well suited to end-users. Should spatial and service design be combined or treated as two distinct and complementary segments of design that can help cities improve health and well-being?

The design of spaces, goods and services

Service design is a growing discipline which has helped transform how products, services and digital experiences are delivered. Spatial planning and design have much to gain from these methods and approaches, to address complexity and render projects more connected to end-users. Service design has relatively recently emerged as a discipline and remains a convergence of industrial design, graphic design, sociology, psychology, business administration and other domains. With roots in the growth of service-based economies from the 1950’s, experiences were increasingly treated as a product that could be designed. By the 1970’s, services were increasingly built into physical products, resulting in product-based services and service-based products. Understanding how an ‘end-user’ engaged with a product or service helped drive a radically different approach to design whereby products or services are constantly tested or prototyped to validate the outcome before it is launched onto the market (Stickdorn & Schneider 2011).

Spatial planning functions on a very different scale and timeframe than the design of many products and services. For example, a website can take weeks or months from design to implementation, while a spatial plan can take years or decades. Service design has been slow to be adopted in spatial design projects due in part to the new skills required and possibly because it is treated as unnecessary or a distraction. Examples of alignment of spatial and service design focused largely on institutional projects such as hospitals or infrastructure such as airports.

Publication

2022 ISOCARP conference in Brussels

Case study: Rue Haute

Year: 2022

Authors:

Adrian Vickery Hill, Laurens Van der Cruyssen, Peter-Willem Vermeersch (Archipelago / KU Leuven), Jo Van Hees (Archipelago)

Location: Brussels

Team: Adrian Hill, Laurens Van der Cruyssen

Sector: Public space & community

Services: Vision, sharing knowledge, engagement

The case study project

The Site Haute social housing site consists of a little over 200 apartments and once housed some 400-450 people. The eight buildings were built largely between the 1950’s and 1970’s and consists of 5-13 storey modernist style blocks surrounding two public squares. The site contains a number of outdated or under-used spaces. It contains a space dedicated to a crèche on the 13th storey of the tallest building, an activity which has since been considered inappropriate. There are various shops and communal spaces, which have become degraded or are difficult to use. It also contains public spaces which are regularly inhabited by youth from the neighbourhood, resulting in anti-social behaviour.

The complex is owned and managed by the City of Brussels’ social housing agency, Logement Bruxellois / Woning Brussel, and is one of various housing complexes in the neighbourhood under management by the housing service which is currently undergoing renovation. The site is located in Les Marolles (FR) / De Marollen (NL), one of Brussels’ densest, poorest, yet most diverse and vibrant neighbourhoods.

In 2022, a team involving Brussels based practitioners from four practices (archipelago, Office U, Osmos Network and Tractabel) were commissioned to conduct a feasibility study for the site.

Four quadrants of design

Spatial design and services design are complementary but share different traits which make it hard to expect a design to practice simultaneously from the mindset of a spatial design and a services or any other form of design.

One way to look at distinctions in design disciplines is through Richard Buchanan’s 1992 seminal paper titled “Four Classes of Design”, where he highlighted the need to consider complexity in design. Building on this concept, it is possible to plot various design disciplines across two axes.

Design with empathy

Empathy is a term used regularly within service design to stress that there is a focus on understanding the needs of the end-user. Empathy can be distinguished by cognitive empathy (imagining and seeing through one’s eyes) and affective empathy (being able to feel similar feelings to those experienced by someone else). Both cognitive and affective empathy have a reflexive impact on the designer as it changes the way one perceives a situation (Cox et al 2012). The designer thus becomes a medium for the needs of the end-user. In service design, the design brief is often contested during the research phase and reframed. The outcomes may not be clear from the outset, problems may be addressed in a wide range of ways – through a service, through the development of a tool or a space.

Spatial design approaches problems from a different cognitive perspective, whereby space is a medium to address the design brief. The scope, brief or budget of spatial design is often well defined.

Case study experience

Analysis phase: Designing for a population of 400-500 people can be extremely challenging, especially for a site containing a diverse population. One of the key outcomes from the service design process is a collection of personas and user-journeys which are tools to help designers empathise with the end-users.

In this project a total of nine personas were created. The personas revealed issues and opportunities that may not have emerged through the interviews or analysis phase. For example, the persona of a concierge was made. In practice the project has been without a concierge for many years. The concierge’s persona revealed questions around the need for this role and larger governance on the site. Another outcome came from the need of communal space within the site to build community. This had been identified by the housing agency and other stakeholders. The personas offered a nuanced insight into what kinds of spaces would be needed. Personas and user-journeys have their limitations and suffer critique (Lino & Basoli 2020), but they remain a valuable tool if interpreted by an experienced practitioner.

Scenario delevopment phase:This phase focused on developing and testing scenarios.

Before the scenarios were developed, the personas were presented to the spatial designers. This gave the spatial designers a chance to ask specific questions that could be elaborated or role-played by the service designer. Through representing the personas, it was possible to consider nuanced design solutions.

Concept development phase: This phase, unrealised at the time of writing, involves combining aspects of each of the scenarios into a masterplan project.

This selected scenario will be tested through a focus group. Considering that focus groups will involve a wide variety of participants, some with very poor literacy skills of classic design tools (such as plans and models) it is important to identify issues that are of value. Empathy with the outcomes of the analysis and personas can help identify those issues that will generate useful dialogue.

Consolidation phase: At this phase, the two forms of design consolidated the outcomes of the project in very different ways. The spatial designers wrapped up their work in the form of conceptual plans, tables and even visualisations of the results. The service design focused on how to communicate the outcome with the stakeholders that were engaged throughout the project.

Reflection – aligning spaces and service

The case study shows the virtue of having a team member or partner that takes responsibility for the service design and helps to interpret the results for the spatial designers. This shows that spatial and service design are best if conducted as parallel or symbiotic elements of a design team in much the same way as an architect would outsource engineering.

As a closing reflection, this case study involved a multi-disciplinary design team, with very complementary skills and an eagerness to collaborate. In practice, the value of service design could be lost or considered overwhelming if the spatial design team or the client is unprepared to embrace the design approach.

See more insights:

Designing means not ends

Julia Rocha — Mon, 29 Aug 2022 19:40:17 +0000

/// Publication

Adrian Hill

Humanity has a good idea of what a sustainable future looks like, but struggles to get there.

There is no recipe to address complex environmental problems. There are no playbooks to roll back the effects of climate change, to protect urban areas from flooding or to improve biodiversity. Despite having access to innovative solutions, we’re often bogged down by bureaucracy, overwhelmed by change, halted by available resources or lost in complexity. Humanity has a good idea of what a sustainable future looks like, but struggles to get there. Process design can help.

Process design offers concepts, methods and tools to support designers and non-designers take an inclusive approach to address complex problems.

Until recently, design was considered a craft resulting in products or services. Design has been treated as an end, rather than a means, and the design process has been seen as the mysterious art of the designer.

Yet the process of designing can be a vital aid to manage complex or wicked problems, to explore ideas and to open dialogue. Process design offers an inclusive and iterative approach that guides teams or groups of actors to move from analysis and research to ideation and designing to reach meaningful outcomes.

Dealing with complexity means entering into the unknown. Just like an explorer embarking on a new journey, one should depart prepared with the right equipment. This guide has been written to equip practitioners, design teams and project managers with basic process management skills to help become more confident in thinking about both the means and ends of a project.

We developed this guide within the five year Connecting Nature project, supported by the European Commission through Horizon 2020 funding and focused on the practice of Nature-Based Solutions. However it is perfectly applicable to almost any place-based or community oriented problem.

Project: Connecting Nature

Funding: European Commission Horizon 2020

Year: 2017-2022

Partners included: University College Dublin, DRIFT, ICLEI Europe, University of East London, City of Genk, City of Glasgow, City of Poznan, City of A Coruña, ProMalaga (Malaga), City of Burgas, SERDA (Canton of Sarajevo), ANEL (metropolitan area of Nicosia), City of Ioannina, Pavlos Melas (Thessaloniki), University of A Coruña, City of Burgas, Bioazul, Climate Alliance, Helix Pflanzen

Overall budget: € 11 400 000

Location: Europe/ Global

Team: Adrian Hill, Hanne Van Reusel, Julia Rocha, Laurens Van der Cruyssen

Sector: Ecosystems, public space & community, production

Services: Vision, process management

The structure of the guide

The guide provides an introduction to the concept of designing processes (Chapter 1). It presents a case study, the Stiemer Valley in the City of Genk (Belgium), a project focused on embedding Nature-Based Solutions to revitalise a forgotten polluted creek (Chapter 2). The guide introduces a methodology based on the ‘Double Diamond’ process, to provide structure to the process (Chapter 3). It then applies the process to what has happened in Genk, showcasing examples of concrete actions along the six main steps (Chapter 4). Collaboration and engagement do not happen naturally, so we consider conditions for this to happen (Chapter 5). The end of the guide presents a small collection of ten practical tools, ones we think can help anyone to get started (Chapter 6), and we also consider some tips for putting ideas into action (Chapter 7).

Why means justify ends

The guide commits a short section to understanding the DNA of a problem and problem solving. We dust off a few established concepts and introduce a few of our own. For example, it can be useful to gauge the complexity of a problem. The Stacey Matrix offers a very useful, albeit imperfect, discussion tool to establish how a problem is perceived. We present the Edward De Bono’s classic six hats process, that can help to ensure that mindsets help see a problem from different angles. We present the different between stakeholders and end-users, which in many projects can appear self evident but is general poorly explored. We also present an adapted version of the ‘Participation Ladder’ to explain the connection between power and decision-making.

The process of process design

Process design is about the means enabling the ends. Projects, no matter how complex and messy, often follow a similar process of opening (diverging), exploring (emerging) and closing (converging). We have used the ‘Double Diamond’ process, a design methodology that was presented by the UK design council in 2004 and since has been applied readily within the fields or services and human-centred design. The process in the guide is the result of years of practice, translating the double diamond to a simple and easily explainable six steps.

This six step process we use within out team, to align partners and also to communicate with clients or external stakeholders. In many cases, the client or project already has a structure in place. In such cases, to avoid complicating what may already be a complex process, we keep the six steps as an internal process.

Every problem is a nail...

…if the only tool you have is a hammer. There are a vast range of design tools that are very helpful to support design processes. We have included ten examples of tools we consider useful, but these are far from an exhaustive list. It is important that practitioners know the opportunities and limits of thinking tools as they can be very quickly become redundant (read about the Pentahelix tool). In Osmos we have a collection of some 30 odd tools, our go-to tools which are regularly being updated and adapted.

Do I need to be a designer to design processes?

There is a myth that only trained designers are able to deal with design. In some cases this is true – a bridge should be in the hands or a certified engineer and not a lawyer. However, design is a human quality – everyone is making decisions and judgements on a daily basis. We have a natural capacity to structure our reflections and plan ahead, qualities characteristic of the human mind. Therefore, we consider that process design should not be the exclusive domain of the trained designer. Rather, it is a framework for dialogue between actors involved with addressing complex problems.

See more insights:

The wood of the Sonian Forest

Julia Rocha — Mon, 13 Jun 2022 20:15:24 +0000

/// Case study

Adrian Hill

Cities produce vast amounts of resources, much of which goes under used or overlooked.

Cities produce vast amounts of resources, much of which goes under used or overlooked. Good quality hardwood is a resource that many cities have, found in parks, forests and street-trees. Yet wood in most European cities is treat as waste or a liability. The Sonian Wood Coop explored ways to localise a valuable resource, creating jobs and an appreciation for local wood.

The Sonian forest sits on the edge of the Region of Brussels and is considered one of the largest urban forests for a European city. It produces some 20,000m2 of wood per year which is cut and sold to the highest bidder. While this may seem logical, the wood is largely felled and sent directly to Asia (mostly to China) as uncut logs. No processing or transformation is done locally before it is exported. Conversely, furniture makers and builders located in and around the Sonian forest often purchase wood from Scandinavia, Canada or even Asia as local wood is hard to come by. We saw this absurd contradiction as an opportunity to research and then shift local value chains through entrepreneurship.

Case study

Project: Sonian Wood Coop

Client: Self initiated

Year: 2020

Partners: Centre d’ecologie urbain Bruxelles, The Walden Project

Location: Brussels, Flemish and Wallonian Brabant

Team: Adrian Hill, Hanne Van Reusel, Stephan Kampelmann, Marco Kooistra

Sector: Production, vision, process management

Services: Business model & financing, systemic & service design, governance models, facilitation of events and meetings, user research & engagement

What goes around

Why does wood from Belgium end up being shipped across the world? There are a number of reasons and various speculations. China has little to no local wood and is prepared to pay premium prices for high quality material. Asia, as the world’s factory, often ships containers back that are empty, so transport costs are considered low. Finally, speculation is being made that there is a concerted industrial strategy to break local production chains in Europe so that they can be bought up by multi-nationals.

The sale of wood for export markets was common knowledge to both local institutions and researchers, yet little had been done about it. One reason is that local policy makers could not see how to interrupt a value chain that the market considered was working.

When we looked into how the wood value chain operated, we found that it involved a vast number of steps, through which it may be possible to access the wood. Firstly, the source of wood. Much of the wood was sourced from the three main forest owners: the regions of Brussels, Flanders and Wallonia. The regions auction wood in a complex system amongst a small group of merchants, once per year. Private landholders in the region also owned wood, but the volumes were far smaller.

Purchasing from auction also meant arranging a lumber-jack and other logistics, which considering the small Belgian market was challenging. A second source of wood is from the timber merchants, who have purchased the wood from the landholders. This meant that prices were far higher but risk was lower as it was clearer what was being purchased. A third source would be from the lumber yard, however the limited remaining yards in Belgium meant that prices were not competitive.

After establishing where the wood comes from, it was important to explore where it can go. We considered two main ‘clients’. Firstly carpenters and carpentry companies. Considering that Brussels has a higher income population, companies exist that work with quality hardwood and are prepared to pay for quality and the local branding. Secondly, retail customers were an opportunity for finished items that did not require intensive processing (such as tables). Finally, other markets were considered such as the construction sector and a market for flooring.

Breaking the cycle, establishing the Coop

In this self-funded project, Osmos developed everything required to launch the cooperative and make the resource attractive to the local market. We called the venture the Sonian Wood Coop, with the ambition to source local wood for the local market with the result of reducing carbon emissions, providing jobs and creating value from the local resource.

Establishing the coop involved researching existing production chains, understanding local interest groups, developing businesses partnerships, sourcing start-up capital (such as a successful crowdfunding campaign), defining the branding and website, campaigning the media, exploring processing, marketing and selling the wood. Osmos was involved in all steps of the process.

The Coop has now been in existence since 2020 and has grown to five full-time staff. This can be considered a successful case of re-localising local resources.

The coop now

By 2022, the coop had grown to some 6 employees, shifting hundreds of tonnes of wood back into the local market. The material is used by woodworkers, from amateurs to professionals, across the region and shows a healthy demand for local resources. The coop has diversified its offering to include raw wood, a range of processed products (such as tables and flooring) and customised design. While this remains a positive news story, the growth of the business remains challenging particularly in terms of dealing with cash flow, production volumes, finding a permanent location and dealing with the ebbs and flows of the international wood market. We look forward to rewriting this article in another three years!

The following video from Brussels’ Bruzz news site captures the atmosphere:

See more insights: