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1
Waiting
tree guarding the pointResidency
from theinsharp-tongued
sea? The
fort we built out of branches wrenched from the tree is
dead wood now. The air that was thick with the whirr of
toetoe spear succumbs at last to the grey gulls wheel.
A PARTICIPATORY DESIGN PROJECT IN COLLABORATION
WITH THE HONE TUWHARE TRUST
Oyster-studded
roots of the mangrove yield no finer feast
of silver-bellied eels, and sea-snails cooked in a rusty
can. Allow me to mend the broken ends of shared days: but
I wanted to say that the tree we climbed that gave food and
drink to youthful dreams, is no more. Pursed to the lips
her fine-edged leaves made whistle - now stamp no silken
tracery on the cracked clay floor. Friend, in this dream
dreamless time I clasp your hand if only to reassure that
all our jewelled fantasies were real and wore splendid
rags. Perhaps the tree will strike fresh roots again:
give soothing shade to a hurt and troubled world: Friend
Hone
Tuwhare
405 Participatory Design
Kaka Point
Dr Noel Waite
Rebecca Elmsie
Michael Moeahu
Executive Summary
Executive Summary 3
User Map 12
Contents 4
Bibliography 28
Introduction 4
Context
Profiles 29
Context
Hone Tuwhare is widely regarded as one of New Zealands most accom
plished and
trea
sured poets. The Hone Tuwhare Char
i
ta
ble Trust was estab
lished to pur
chase
and restore Hone Tuwhares crib, develop resources for schools and
ini
ti
ate events through
out Aotearoa that cel
e
brate Hone and his con
tri
bu
tion to
the Arts. Hone was very hos
pitable and loved to share his fire, food, a drink,
song and laugh
ter. He also val
ued his soli
tude and being able to work undis
turbed
in the com
fort
able, peace
ful, inspi
ra
tional place he called home.
His crib will now pro
vide man
aak
i
tanga for writ
ers and school groups from
through
out the region and regional, national and inter
na
tional vis
i
tors a
resource Kaka Point, the Otago region and New Zealand can be proud of.
Exploration 16
Purpose Statement 14
Discovery 18
Appendices 30
20
Prototyping
Reflection +
Analysis 22
Futures 26
User Insights 24
Knowledge
by
doing
What
is
Participatory
Design?
DEFINING PARTICIPATORY DESIGN
Clay Spinuzzi
00
METHOD
Participatory Design is a flexible
research method. There are multiple ways
to incorporate the participants into the
design process. Observation, questionaires
and interviews. Spinuzzi writes there are
three stages of establishing a participatory
design workshop. In Scandinavian work
relying on union - sponsored workshops/games
heavily relying on interaction between the
users and designers.
01 02 03
INITIAL EXPLORATION
DISCOVERY PROCESS
PROTOTYPING
What
are the
Strengths and
Weaknesses
STRENGTHS
WEAKNESSES
SversusW
- Can be a rewarding and fun experience
while conducting valuable design
research.
Matariki
MATARIKI AND TUWHARE
Matariki is a small but distinctive star cluster whose appearance in the north eastern
pre-dawn sky in late May, early June marks the start of a new phase of life.(www.
tetaurawhiri.govt.nz) In many ways the Hone Tuwhare Trust is a start to a new phase
of life for the memory of Hone Tuwhare and the journey of its residence. Hones
navigation to his crib on the world ball makes you wonder how often he gazed out at
the stars above. Matariki is also a thought to reflect on your place in the world, to
reawaken old skills or try out new ones and set new goals. The workshop gives footing
to The Hone Tuwhare Trust to insight their goals and give resource to what direction
the residency can go.
10
Participatory Design
in application with
the Hone Tuwhare Trust
HONE TUWHARE WORK SHOP
The Hone Tuwhare Trust is wanting to
establish a Writers Residency at Hone
Tuwhares former crib in Kaka Point. Kaka
Point is a small, coastal com
mu
nity of
approximately 200 permanent residents, less
than a half hour drive south
east of
Bal
clutha. Sit
u
ated in the unspoilt Caitlins
region, Dunedin, Gore, Inver
cargill and
Cen
tral Otago are nearby.
The Trust provided an opportunity to prepare
and perform a participatory design
workshop. The work shop comprised of key
stakeholders and members of the Trust.
The workshop itself was held on a Saturday
15th of March at a holiday house in Kaka
Point. There were seven participants from
the Trust and two design post graduate
students leading the work shop.
11
12
Creative
Residents/ Type of Residency
Potential Users
Community
Cleaning/maintenance
Friends
Music /Art
Community
Local
Supplies
Iwi Organisations
Supporters
NZ Art
Foundation
Miter 10
Schools
Trust
Ministry of
Education
Prison
Educational
Established
International
Universities
Emerging
Creative
Residents
Collaborative
DOC
Government
DDC
CDC
MCH
Creative NZ
Prospective
Users
Educational
Supporters
Schools
Trust
Emerging
Creative
Residents
Government
USER MAP
This map illustrates the users that are involved in the structure of the residency.
The three main potential users that the trusties will manage would/could influence the residency. The user information was gathered
from the exploration stage of the workshop, the participants identified certain intuitions and stakeholders that could affect how the
residency would be constructed.
In relation to the insights that were found in the prototype stage of the workshop. The main scenarios that were identified are shown
and the connections that would support there application as a residency. For example schools would be seen as supporters and government
because of link that they could have with the Ministry of Education, this would be officiated by the trust and ultimately they would make
the decision of how the recourses would be used. It could be implemented as an educational residency for an emerging artist.
13
Manaakitanga
MANAAKITANGA AND TUWHARE
Manaakitanga encompasses reciprocal hospitality and respect from one individual or
group to another - with values like mana and utu / revenge, reflected in culture,
language, and continuous efforts to be generous hosts. It also acknowledges the mana
of others as having equal or greater importance than your own, through the expression
of aroha / love, hospitality, generosity and mutual respect. (www.newzealand.com) In
doing so, all parties are elevated and the host status is enhanced, building unity
through humility and the act of giving. Hones crib will now pro
vide man
aak
i
tanga for
writ
ers and school groups from through
out the region and regional, national and inter
na
tional vis
i
tors a resource Kaka Point, the Otago region and New Zealand can be
proud of. A peice of Tuwhare giving back to the future.
14
Hone Tuwhare
Trust
Stakeholder
Workshop
PURPOSE STATEMENT
The purpose of this work shop is to establish key users, stakeholders and
partnerships of a future writers residency. We will discuss, compare and initiate
key resources and existing ones to provide a knowledge base to constructively
structure desired possible residency outcomes for the Hone Tuwhare residency.
WORKSHOP OUTLINE
The outline for participatory design
workshop was focused on addressing the
issues around how the residency was going to
be formed. The participants were the Hone
Tuwhare Trust members. The workshop was not
targeted to any specific type of residency,
as it was predicted that trust members would
have their own opinion on what they thought
would be the best way for the residency to
be run. The objective of the workshop was
to find out what each trust member wanted
from the trust, educate them on alternatives
and creative possibilities, then synthesize
their ideas to create residencies scenarios.
The hope was to turn the trust members into
designers, asking them to speculate ways
of using the crib and any other aspect they
think would be rewarding for the users.
To inspire
people
through the
preservation,
promotion and
celebration of
Hones legacy
Work Shop Participant
15
Exploration
EXPLORATION STAGE
01
16
17
WALL POSTER EXERCISE
The first stage is based on brainstorming and synthesizing while trying to keep all
the participants ideas in one space, so they could be analyzed and broken down.
The designers had to keep in mind what they wanted to achieve when designing the
activity for exploration. It was discussed and they wanted to achieve insight into
the types of residencies that trust members were hoping for, while encourage them
be creative and experiment with other ideas by adding to each others. The question
were first look at in the simple form of: Who, What, When, Where, How Why?
Participants were separated and analyzed by defining the specific information that
was wanted form each question, while considering the attributes of a residency. The
questions were focused on the users, revenue, supports and potential connections.
It was decided that there needed to be seven questions. This was to help the
dynamics of the exploration stage, as there were seven people. These questions
were individual so each participant had a chance to put his or her ideas forward.
The activities itself was interactive to stray away from the typical question and
answers workshop. The questions were written on large sheets and placed around
the room; this was for the designer and participants to visualize the information.
(See appendices one) Each participant had 2 minutes on each question; this was for
quick fire response.
REVIEW
The questions were then review as a group and discussed, ideas were added to
and changed as a group. Going over the ideas sparked conversation and open the
participants to new possibilities for the residency, they could see a verity of
opportunities that they had not through of, such as the residency being available
to songwriters and musicians. The time that was allowed for this activity as
sufficient as it forced the participants to think fast and write everything down.
The review stage was when they could add and comment on all the information that
was produced.
Discovery
RESIDENCY CARDS
02
18
Robert Lord
Writers
Residency
Writers
19
What
Where
Why
When
How
Who?
Prototyping
CREATE
03
MOCK RESIDENCY
The aim of the mock residency was to produce
a prototype that suggests user requirements,
but also to allow the trust members to
experiment with different scenarios, thereby
learning for themselves how their work can
best be supported by the recourses that
they could access or what they need to gain
access to, to achieve the scenarios.
Each participant was given 15 minutes and 10
predesigned sheets to help plan residence
scenarios that could potentially work at
Kaka point. (See appendices three) Each
sheet aimed to represent one mock residency
scenario. The two-sided template combined
aspect of the previous stages to make a
plausible and valuable scenario forcould
later evaluation.
The first side was the workbook side, this
was broken into When, Who, How questions.
The next side was relating to the same
residency. This side was taking into account
the information written on the workbook
side and applying it to duration, resident,
funding and activities.
PERSONAL REVIEW
After cards were filled in they were asked
to pick their top three residencies and
label them 1 to 3. This was for them to do
some personal review and decide how they
actually want to see the residence used.
3 minutes was allowed for is exercise and
worked well.
DISPLAY
Participants were going to be asked to pin
up their best three ideas up, so they could
be evaluated by the group, but due to time
constants and other stage of the workshop
going well the time was taken from this
stage as it was less detrimental to the
over all productiveness of the workshop.
Instead the participants were asked to pick
their best three and place them in pile to
be evaluated by the designers in the final
report.
was insufficient and timing had to be
extended for the activity to be completed to
a standard that would be beneficial.
20
21
22
Reflection
and Analysis
REFLECT
23
1. How would you describe your participation?
Passive
Active
A lot
A lot
Not a lot
A lot
5. Did you learn anything new about writers residencies in the workshop?
Not a lot
A lot
A lot
24
Flexible
National
International
MultiPurpose
Sustainable
Open
Creative
Insight
Workshop Insight
Key words drove insight for the workshop held with The Hone Tuwhare Trust members. There
were underlying themes that governed what the Trust saw to be essential parts to having
a residency. Flexibility stands for duration of stays and who the users of the residency
are. A National presence as a residency for New Zealand writers / creatives was very
important to the Trust but also having an International partnership or open to foreign
inspiration as well. Multi purpose and openness come under the umbrella of flexible but
taking in to account that Hones crib location and possible development can serve a wider
purpose to community and educational groups and a tourist attraction. Sustainability was
a big part of discussion. How can the residency and Trust be sustainable economically.
The residency serves as a place to motivate, create and inspire.
novice writers
established
25
writers book lovers school
groups
local clutha region
residents any New Zealander
Hone
enthusiasts
tourists
small
poetry
groups
.people needing
inspiration
book lovers PHD
Students
poets
researchers
c u r a t o r s
artists musicians
pi
s
theatre
a activists
comedians filme drama
friends of the trust
study
groups international visitors
sponsors partners conventions
families everyone peopl
s
ablished .
a
cre
ti
s
e
v
wr
it
er
ri
ng
est
Hone
Tuwhare
Residency
26
Futures
WHERE TO NOW?
From the reflection of the workshop and
the feedback from the participant, it has
been decided that there should be a second
workshop with the trust members to encourage
more in depth conversation. The aim of
second workshop would be to produce a small
number of mock residencies that each trust
member would have contributed too and was
satisfied with.
FEB
MAR
APR
MAY
JUN
27
JUNE 2014
JUL
AUG
Possible workshop.
AUGUST 2014
SEP
JULY 2014
SEPTEMBER 2014
OCT
NOV
DEC
28
Bibliography
Clement, Andrew, and Peter Van den Besslaar. A Restrospective Look ar PD Projects.
Communications of the ACM 36.4 (1993): 29-37.Print.
Kia ora. (n.d.). New Zealand Travel and New Zealand Business. Retrieved April 7, 2014, from http://www.
newzealand.com/
Matariki - Maori New Year New Zealand. (n.d.). Matariki - Maori New Year New Zealand. Retrieved April
7, 2014, from http://www.taitokerau.co.nz/matariki.htm
Simonsen, Jesper, and Morten Hertzum. Iterative Participatory Design. Design Research: Synergies from
Interdisciplinary Perspectives. Eds. Simonsen, Jesper, et al. Hoboken: Taylor & Francis, 2010. 16-32.
Print + eBook: http://otago.eblib.com.au/patron/FullRecord.aspx?p=557233
Slevin, D. (n.d.). The Hone Tuwhare Charitable Trust. The Hone Tuwhare Charitable Trust RSS. Retrieved
April 7, 2014, from http://honetuwhare.org.nz/
Spinuzzi, Clay. The Methodology of Participatory Design. Technical Communication
52.2 2005): 163-74. Print.
Taxn, Gustav. Introducing Participatory Design in Museums. ACM (2004): 204-213. Print.
Yamauchi, Yutaka. Participatory Design (chapter 8) In T. Ishida (Ed.), Field Informatics. Berlin,
Heidelberg: Springer, 2012. 123-138. Print.
On Tuesday, 8 April 2014 9:22 AM, rebecca elmslie <rebecca_elmslie@yahoo.com> wrote:
Clement, Andrew, and Peter Van den Besslaar. A Restrospective Look ar PD Projects.
Communications of the ACM 36.4 (1993): 29-37.Print.
Kia ora. (n.d.). New Zealand Travel and New Zealand Business. Retrieved April 7, 2014, from http://
www.newzealand.com/
29
Designer
Profiles
Rebecca Elmsie
I am currently studying a Masters in
Applied Sciences after completing a Design
for Technology degree at the University of
Otago. I am interested in sustainability
and innovation and feel that these
qualifications can take me into a number of
different areas. After doing some traveling
and exploring I hope to find the area of
design that is best suited to me.
Michael Moeahu
30
31
Randell
Cottage
Writers
Trust
Writers
National Residency
- Historic Randell Cottage in Wellington, New Zealand. The Randell Cottage Writers Trust works in
partnership with Creative New Zealand, the Embassy of France, the New Zealand-France Friendship Fund
and Wellington City Council.
- The cottage has two bedrooms and a writing studio. It is located in inner-city Thorndon close to
Birthplace, and within walking distance of the National and Turnbull Libraries.
- The New Zealand residency is from July till December.
- The French writer is selected by the French Government and the NZ-France Friendship Fund to work on
an approved project from January to June each year.
- Rent-free accommodation in the two-bedroom central city cottage, a stipend of approximately
$22,000, paid monthly, funded by Creative New Zealand.
- The writer will be expected to participate in any associated social activities and be prepared to
promote the Trust and the residency at every opportunity.
- The writer may be required to make the cottage available to the public for a day during the tenancy.
Any associated costs, within reason, will be met by the RCWT. The day will be decided at the start of the
residency.
- A printed acknowledgment and the logo of the RCWT and Creative New Zealand are expected in any
published work that results from holding the residency. Logo provided.
Pros
Comments:
Cons
WHO?
32
(Residence name)
Duration:
Resident:
Funding:
Activities:
Manakitanga
HOW?
WHEN?
tourist,exhibitionist,young, Maori
33
34
35
Workshop Plan
5 mins
Designer Introduction
Purpose Statement
Consent Forms
Prototyping
Consent Forms
Pens
15 mins
Exploration
14 mins
Cards
Pens
Blutac/Pins
Marker Pens
Newsprint Roll
Mock Residency
Review
3 mins
Personal Review
Participants are asked to choose their best three
mock residencies, and label them 1 to 3. (Most liked
residencies)
Discovery
10 mins
Residency Cards
Participants are divided into 3 groups. (Two groups of
two and one group of three) Each group will be given
three cards (One international, two national) with
other residency programs on them. The card is pre
prepared and includes one image, a short blurb about
the residency and a pros and cons template with a
comment section at the bottom. The participants will
pros and cons list relating it to the residency on the
card. Any other information they want to add can be
placed in the comment section.
15 mins
Display
The participants are asked to pin up their best three on
the wall in a vertical line 1 and the top 3 at the bottom
to form a row of the 7 best ideas then a second row
of the residencies labeled 2 and the third row of the
residencies labeled 3.
Residency Cards
Pens
5 mins
Idea Grid
Time to round up and view all twenty one ideas in the
grid.
Review/Presentation/Discussion
Each group will present their three residencies and
what they saw as the pros and cons, also sharing any
other information they feel necessary.