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The Love School Project war ein designforscherisches Experiment im Bereich Transition Design und Social Innovation, bei dem durch Co-Creation Prozesse die Selbstwirksamkeit und Eigenverantwortlichkeit der Schulkinder erhöht werden sollte. Durch partizipative Maßnahmen wurden Kinder im Slum von Nairobi zu Akteuren, Gestaltern und Produzenten und tragen dadurch zur finanziellen Eigenständigkeit ihrer Schule bei. Auf diese Weise können die Kinder verpflegt und mit Schulbüchern versorgt werden.
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Veröffentlichungsjahr: 2017
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how should a child-oriented, co-creative design process be established to empower and raise awareness of self-efficacy?
PERSPECTIVES
CONCEPT
SUSANNE STAUCH
ANNA BADUR
ANTONY KARORI
VERONICA NDUKU
IRMGARD WUTTE
TEAMS & CO-CREATION
3 STARS
ALPHA
BLESSED
BLUES
CONQUERER
EAGLES
GENIUS
MOVE
KNOWLEDE IS POWER
TIGERS
PROJECTS, BERLIN
ROPERY – LOUIS BINDERNAGEL
TRACE – ANNA DREWES
SHIFT – MARTIN FENSKE
SPHERICITY – GEORGIA VON LE FORT
KUSANYA – JULIUS FÜHRER
CORTINA – DARIO IANNONE
KUTATA – AGNES KELM
ATTENTION! – YANNIK ROHLOFF
KIKAPU CHA PAURE – ANNA RYZHOVA
BENCHMARK – PAULINE SCHLAUTMANN
SINUS – ANNA DREWES & DARIO IANNONE
MAKER WORKSHOP, NAIROBI
CLAY
FURNITURE
OVEN
ROPE
HOUSE
FINAL PRESENTATION
REFLECTIONS
CONCLUSION
NEXT STEPS
CREDITS
Co-creation and design for transformation
A visit of the Nyendo schools in Kangemi and Kawangware, Nairobi in the summer of 2016 instigated the idea of working with children of the Love School Center for the period of one semester in a design project at UdK, in consideration of the visions of the Sustainable Development Goals by the United Nations.
Initially, the idea was to raise money for the purchase of land, though not as a pure charity action but in a co-creation process. Thus the children could claim ownership and feel responsible, having participated in a hopefully successful project through the sale of the design objects they produced. With this goal in mind the project was structured with several levels:
As the university students were supposed to gain knowledge and experience with materials and crafts, mainly in the plaster and porcelain workshop through experimenting and developing simple yet well designed objects, it seemed to be a great opportunity to team them up with children and have the students pass on their learnings and experiences in a child appropriate way. Through this process they would have to reflect their own doing and instantly question their approach, being much faster in iterating and adjusting their process than if they had worked by themselves.
On a second level, the interaction with the children, which was planned to happen through Skype and Whatsapp, would of course set in motion a communication and thinking process that concerns itself with the cultural and social backgrounds of the children and the students, questioning luxury, standards, needs and access by setting these very different environments in contrast.
A third level was the making itself. It‘s a natural and playful pursuit for children to tinker, craft and to create decorative art objects. Sharing knowledge and expertise about different techniques, and their embeddedness in the cultural, environmental contexts could lead to new hacks and hybrid approaches of making.
A fourth level was the challenge of material supply. As a student in an arts university it is rather easy to work with any material the design idea requires. As a child in a slum with no financial possibilities, yet being surrounded by waste material, thinking about upcycling seemed obvious.
With this rather vague and intuitive concept in mind, the project started its journey into a complex, multi-level, ever-evolving social and conceptual venture of identifying common denominators and analyzing differences, mainly achieved by building relationships, which is one of the pillars of social transformation design.
Within the first week it became clear that both students and children would really appreciate to meet in a hands-on workshop at Love School, which we managed to realise against all odds. This experience gave purpose to the whole project, offered tremendous learnings and insights and deepened the relationships between all participants.
Professor at ID2, UdK Founder of SUPERNOVA INSTITUTE
Whenever the question "what does actually have transformative impact?" arises, education is often the answer. We are embedded in a neoliberal, capitalistic, globalized system. Money as we know it rules the world and dictates the lives of the majority of people. Scarcity is advertised as a necessary evil while the planet is abundant in its offerings. People are being valued and judged according to their certificates and paychecks, while quality of life is distributed accordingly.
And then we walk with the so called poor into the wilderness and any of those supposed labels or affiliations seem even more artificial, purposefully constructed by the western imperial culture and the need (of the ego) for power and hierarchical differentiation. The obviousness of this topic was presented with an equal intensity as the environment itself. The Rift Valley, where humanity came into existence, has a very strong and deep energy. The feeling of connectedness to pure, raw, real life is ubiquitous. In this environment it seems even more ridiculous (and often frighteningly dystopian) where the world seems to be headed.
As designers we have heard the call for "change by design instead of disaster“ repeatedly in the recent past. However, moving in an academic ivory tower or echo chamber within our social networks, we often lack the connectedness needed to see on a systemic or holisitc level.
What does this ultimately mean? We have to step out of our micro or macro cultural contexts, our comfort zones, belief systems and yet so easily adopted truths, and stand in other peoples shoes. With our workshop and visit in Kenya we tried this, dared to experiment, worked with uncertainty and stepped into a context of the unknown – and were rewarded. With laughter, joy, enthusiasm, new friends, an amazing culture of the heart and much, much more.
One of my favourite stories from our time in Kenya was told by our guide Danson Nkumum, a Masai who grew up in the Rift Valley. He literally ran to school every day. 22 km in the morning and 22 km back in the evening, without receiving food during the day. He did this every day. For years. He never thought of giving up because he was deeply convinced that only education can help him move beyond. Imagine this man‘s dedication. He is a pioneer who proved that it is worth running: he completed his masters degree in geology and is now supporting children within and beyond his own community to go to school and learn.
I truly believe in a not-soutopian future where education helps us drop judgement and categories. Where we finally embrace the fact that humanity is connected and therefore only thrives in connection and on eye level. Where we support each other in growing and evolving into those human beings we are capable of becoming, once we respect and love ourselves as much as anybody else.
www.supernova.institute
Lecturer at ID2, UdK MA Design
When I was invited by Susanne to join The Love School Project as a mentor I intuitively said ‘yes‘ without knowing which direction and dimension the project would take. The framework was set, the contacts were made and the idea to support the school with raising money for the purchase of land was there. But on the other hand there was a myriad of questions and missing knowledge about each others worlds. The communication possibilities were limited and financial support was not in prospect.
How is life in a slum of Nairobi really lived? What does it mean to live without running water, electricity and waste removal? What does a slum school look like, how does teaching work there and what do the kids do after school? What tools and materials are available and what skills exist that we aren’t even aware of? How can we enter this world and what can design actually do in this context?