Design

Brendan McGetrick, independent author, designer and curator

 

The designer positions the headset over my eyes and the room disappears. She places plugs in my ears. The sound of her voice, clear just seconds before, becomes distorted and distant. The noises surrounding us – people talking, children screaming, phones ringing – meld into an undifferentiated roar. I feel disoriented and vulnerable. Frankly, I feel afraid. I’m about to comment on this when the designer asks me to open my mouth. She inserts an oddly shaped lollipop. The taste isn’t bad, but the shape stretches my mouth and restrains my tongue. I try to speak, but can only grunt. The roar in my ears is relentless. My eyes see only blurred silhouettes surrounded by uncomfortably bright colours. I feel trapped. After a few seconds, I remove the headset.

When my vision returns I see the designer. She wears the nervous smile of someone who knows she’s subjected you to something uncomfortable, but for a good cause. The designer’s name is Heeju Kim, a graduate of the Royal College of Art in London. I’ve been trying out her graduate project, called Empathy Bridge for Autism, which is a set of tools that disturb the senses. The tools expose the user to the hypersensitive sensory environments in which autistic people live – its aim is to increase understanding and, eventually, inspire new forms of treatment.

I discovered Heeju’s Empathy Bridge for Autism while organising the Global Grad Show, an international exhibition of graduate design and technology projects that I curate each year. Heeju’s was just one of more than 100 works in the show, which all shared a common spirit of creativity. That spirit – empathy combined with imagination and technical rigour – informs the best design. As a curator, my job is to capture that spirit and communicate it to the public, many of whom are unfamiliar with, and sometimes openly dismissive of, the value of design.

What is curating and how does it relate to child obesity?

There are many kinds of curating – online and offline – but I focus on the most traditional form: namely creating exhibitions in galleries, museums and conferences. Global Grad Show is one such annual exhibition, and provides a useful illustration of how a curator marshals evidence and cultivates an atmosphere of curiosity around a given subject.

Global Grad Show features inventions from the world’s leading design and technology schools. The 2017 edition comprised 200 projects drawn from 92 universities in 43 countries.

All the projects exemplify evidence-based design. This can be illustrated through the development of a product called MoonPads – a system of interactive smart-mats developed by a multidisciplinary group of US-based engineers, industrial designers and business strategists at the Rochester Institute of Technology (RIT) in collaboration with the Al Sigl Community of Agencies (a US network of organisations that provides services to people with special needs).

Like many research-based designs, the MoonPads system was developed in three phases: discovery, concept development and user testing.

During the discovery phase, two RIT designers observed daily activities at a children’s centre that supports young people with autism, Down’s syndrome and cerebral palsy. They then defined a project brief: to design an affordable, flexible system for guiding distracted or overstimulated children in daily activities. In the concept development phase, the team created and tested prototypes, developing a system of interactive mats constructed from soft silicone. The mats use lights, sounds and vibrations to engage and direct children through activity-based therapy sessions. With this working prototype, the project then entered the user testing phase. During this testing phase, new uses are often discovered – for instance, sets of MoonPads were sent to a hearing and speech centre and were found to show great potential as an aid to help children develop motor and cognitive skills.

How does evidence inform design?

Successful designers rely on a unique combination of rigidity and flexibility that allows them to consistently and almost obsessively attempt to refine their work, while also remaining receptive to outside input. The design and curation process is inherently able to absorb contradictory evidence. We see failure as provisional and instructive. Once a design is in the public domain, the opportunities for inventing new applications radically expand. Although originally inspired by autism, the playful, movement-based approach of MoonPads makes the system relevant to obesity and many other public health challenges.

At the Global Grad Show, I witnessed a group of schoolchildren invent a game using these soft silicone MoonPads. The product had been designed to be controlled by an app, which wasn’t working as there was no wifi connection. However, the children discovered through vigorous trial and error that if they applied enough pressure to these MoonPads they could produce sound and light without using the app. The children then spread out the MoonPads on the floor and jumped on them to synchronise the sounds into a simple melody, thus transforming the intended use of the product. One of the designers was stood next to me in the tent, and she looked positively euphoric at the transformation that had just taken place.

How do design curators approach public health challenges?

Design curators are uniquely qualified to contribute to conversations around complex issues in need of fresh thinking, such as childhood obesity. As a profession, we aspire to create experiences that stimulate innovation and challenge mindsets. When we design and curate, we try to help people by intriguing them and then inspiring them.

In the case of child obesity, I would start by scouring the world for ideas, products and prototypes that provide a new perspective on factors influencing obesity. This process would be entirely open – gathering raw material with as many inputs as possible. Next, I would establish a set of criteria by which to assess the material. In the case of an exhibition related to public health, these could be:

  • originality of the idea – projects that introduce a product, service or experience that is not currently available elsewhere.
  • social impact – projects designed to directly benefit social, medical or environmental causes.
  • international relevance – projects that can have an impact beyond the specific context for which they were created.
  • feasibility – projects that can be produced in a straightforward and affordable manner.

This assessment would be made by a panel of judges representing the assorted partners necessary to take a project from a prototype into the public domain. Each of these experts would be asked to apply critical pressure to the works according to his or her area of expertise. Each potential exhibit would be rated on a scale of one to five, with the highest scoring projects selected for the show.

Once an exhibition’s content is selected, the challenge for the curator is how to communicate it – through text, graphics and atmosphere to cultivate an environment of curiosity, in which visitors feel interested and empowered. This is achieved most effectively by emphasising what a work does, rather than simply what it is. Heeju’s Empathy Bridge for Autism did this to devastating effect, and the experience changed my perception of autism forever.

This visceral, revelatory audience experience is the curator’s ultimate goal. The best exhibitions change lives. They fascinate and frighten and motivate. They provide an open stage on which to demonstrate that issues like childhood obesity arise because of multiple factors – and require solutions from unconventional sources. Designers can offer more than products, concepts and experiences that address childhood obesity – they can also provide the research-driven, user-focused methods that create them.

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