Do you remember that wild stretch of land with the lone

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

The Hone Tuwhare Trust is currently trying to structure and design a

residency that is going, to inspire people through the preservation,
promotion and celebration of Hones legacy. To identify the users,
alternatives and possibilities of the residency the trust members took
part in a participatory design workshop. This was a way the entire trust
could share their ideas and they could then be synthesizes to come closer
to achieving a residency structure that they were all pleased with. The
group took part in the workshop that was designed specify for them, it
focused on addressing the issues around how the residency was going
to be formed. From the three stages with in the participatory design
workshop (exploration, discovery and prototyping) it was identified that
the trust member wants a residency aimed at either educational (emerging
artist), international (established artist) or a combination of both
(collaborative). It was also identified that the residency would have a
number of different durations over that year that relate to the different
type of creatives that will use the residency. Other factors that were
recognized are identified in the document. Overall the workshop was
successful and more workshops will take place to refine the structure of
the residency and define the needs of that stakeholder and users.

Executive Summary 3

User Map 12

What will you

find in this
Participatory
Design
report?

Contents 4
Bibliography 28
Introduction 4

Context

Participatory Design Method 6

A PARTICIPATORY DESIGN PROJECT IN COLLABORATION WITH THE HONE TUWHARE TRUST
The assignment was our first opportunity to prepare a participatory design workshop.
It comprised of a preliminary literature review and a stakeholder workshop at Kaka
Point for the Hone Tuwhare Trust. This involved reviewing a selection of Participatory
Design literature, contextual research into the types of residency available
nationally and internationally, consideration of a wide range of perspective users,
planning and preparation of workshop resources, and leading the workshop.

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

Participatory Design Application 8

Reflection +
Analysis 22

Futures 26

User Insights 24

Knowledge
by
doing

What
is
Participatory
Design?
DEFINING PARTICIPATORY DESIGN

Participatory design is a collaborative

process where its very name is adopted
into the design process. It can be defined
simply as an approach to design attempting
to actively involve all stakeholders
(e.g. employees, partners, customers,
citizens, end users) in the design process.
Participatory design is research. Although
it has sometimes been seen as a design
approach characterized by user involvement
(Johnson 1998), as Johnson proposes
user involvement the term can be placed
in a variety of circumstances as a way
of creating environments that are more
responsive and appropriate to the centered
inhabitants and users cultural, emotional,
spiritual and practical needs.
Participatory design involves using
workshops and design sessions in which
designers and participants can codetermine
the development of a design artefact
(Clement, 1993). These workshops are
configured so that the designers act as
facilitators who enable participants to make
decisions through co-research and co-design
(Spinuzzi, 2005). The participatory design
focus can be seen as a way of shifting
design responsibility and constructing

Clay Spinuzzi

a stage where innovation and insight

can be provided by users, stakeholders,
participants as well as by designers.
Participatory designs draws from various
other research methods such as interviews,
observation, analysis of artifacts and
surveys. Clay Spinuzzi explains in his paper
Methodology of participation Design. These
methods are all ways used to iteratively
construct the emerging design, which itself
simultaneously constitutes and elicits
the research results as co-interpreted by
the designer and participants who will use
the design. This being said Spinuzzi also
explains that the goal is not just to
empiracally understand the activity. But
to also simultaneously envision, shape and
transcend it in ways the workers find to be
positive.(Spinuzzi, 2005). Participatory
Design defined as a type of research or
innovative process encompassing activiies,
methods and practices related to the end
users circumstance. Sourcing insight from
context.

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

In this stage, designers and users meet

to establish the ideas of how users work.
Alternatively recognising all initial
aspects of the design problem or focus from
the users point of view. Applying Spinuzzi
union example the exploration phase included
technologies involved , but also includes
workflow and work procedures, routines,
teamwork, and other aspects of work.

In this stage , designers and users employ

various techniques to clarify and categorise
initial exploration ideas. Discovery of
insights and collectively orientating
towards a designed goal. Making meaning out
of the ideas rather than to just describe
it. Often involves interactive group work.
In Spinuzzis case it was about understanding
and prioritising work organisation and
invision the future work place,

Designers and participants actively

shape design outcomes. This can involve
materials to create a physical product or a
drawing of a desired system or structure.
Prototyping in Spinuzzis example prototpes
of technological artifacts that fit into the
workplace environment envisioned in stage 2
the discovery process.

What
are the
Strengths and
Weaknesses

STRENGTHS

WEAKNESSES

- Inclusive design where involvement

of users and particpants produce
demonstrable change. Large and small
numbers of participants.

- Can take a lot of time, resources and

commitment.

- Collaboration of different user

positions.

LIMITATIONS OF PARTICIPATORY DESIGN

Participatory Design has been cautioned
to think of their work as evolution not
revolution(Sumner and Stolze 1997). It
has been thought that radical change
is difficult to be sourced as otherwise
associated with bringing in an outside look.
This categorised by Bjerknes and Bratteteig
as the method can become tunnel visioned
if particular stakeholder / users are
included or excluded.
Do it yourself ethnography Diane Forsyth
argues that the method can be superficial
when it comes to methods of ethnography
because a common sense stance can be engaged
to the research rather than a defined
anthopological understanding. Thus without
addressing basic issues such as the problem
of perspective, researchers have no way of
knowing whether they have really understood
any of the informants discovered data.
However participatory design is not solely
an ethnography. Its research method iterates
and compares its data and can evolve and
mutate within the methods chosen. Properly
done, it continually brings the analysis
back to the demain and shares it with the
participants, who cointerpret it, co-analyse
it and co-design responses to it. (Spinuzzi)

- Ability to offer participants a

variety of mediums to explore their
opinions such as mapping, photo surveys,
group activitie, storytelling and rapid
prototyping.

- If participants are voluntary there

is a risk of no shows and unreliable
accountability.
- Can require a continued need for
further workshops to develop preceding
ideas.
- In the evaluating and analysis,
designers can dismiss or look over
insights.

- Flexibility to role with the ideas of

participants and timings.
- Can be tactile and craft work to
advocate ideas and insights.
- Diversity in community and users.
- Can create a large body of knowledge
and insight rather quickly. Quickly
organised.
- Variety of concepts and ideas &
iterative.

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

WHY APPLY PARTICIPATORY DESIGN HERE

Hone Tuwhare Trust workshop draws out key
The future of a possible writers residency
determining factors that relate to what
for the Hone Tuwhare Trust in Kaka Point
provides a dynamic and variety of outcomes. the key stakeholders deem to be important
in founding a residency. The flexibilty
Due to its charachteristics of being a
and constuction of a Participatory Design
non tangible product such as a tool. A
workshop allowed a variety of insights
Participatory Design workshop provides a
platform to the key stakeholders to express gained from individual stages of the
work shop in addition to the structured
and establish possible insight to what the
residency will entail. Posing key questions group work. The iterative style of a work
shop allowed the back and forth exchange
of WHY, HOW and WHAT the residency is
of insights gained from the exploration
gives participatory design an active role
in pulling out these ideas from
the participants. Using workshops,
Deter
min
ing struc
ture of res
i
dency and level of support.
participants are prompted to think
Possible part
ner
ships with other agen
cies and institutions.
creatively and put forth their own
ideas (Yamauchi 123). In regards to
Revenue streams of the residence.
this context, the participants are
Who is the residency for.
the decision makers for the Trust
and provide a different perspective of idea phase of the workshop, through to the
prototype stage. Iterations are encouraged
from a specific end user. The workshop
throughout the workshops to allow for
lay context into types of residencys
critical evaluation and co-exploration by
available nationally and internationally,
consideration of a wide range of prospective designers and stakeholders (Spinuzzi 167).
The particpatory design workshop will give
users and possible insights gained from
stakeholder collaboration. The Participatory a stage through creative activities driving
comparible aspects of what makes a residency
Design method as stated before consists
and what will give identity to a Hone
of three stages EXPLORATION, DISCOVERY and
Tuwhare residency.
PROTOTYPE. Applying this method to the

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.

The workshop lasted approximately 90

minutes (an hour and a half). This time
was selected to keep the participants
interested, but long enough to develop
ideas. The facilitators followed the
workshop time plan roughly, allowing extra
time when it was need and making sections
shorter when the goals were achieved.
As this was the first workshop the
facilitators had ran it was important that
they didnt deviate largely from to the
plan, but from discussions and looking
over example it was understood that if
the workshop plan wasnt follow exactly
participants should still yield positive
results by the way the activities were
designed.

The purpose of the participatory design

workshop was to interact with the Hone
Tuwhare trust members and understand how
they see the trust being used and by whom.
The purpose statement was kept broad to
allow for the trust members to communicate
with each other and share ideas without
having the pressure to answer an overall
question in the workshop.
The participants were all professionals;
acknowledging this, there could be a high
level of intellectual interaction. It
opened up the stages to involve writing and
presenting ideas to the group. The workshop
took place at Kaka Point in a holiday home,
which the Hone Tuwhare Trust members were
staying in after the working at the crib.

To inspire
people
through the
preservation,
promotion and
celebration of
Hones legacy
Work Shop Participant

15

Exploration
EXPLORATION STAGE

01

In this stage the designers meet the

participants and familiarie themselves with
the way they worked and followed direction.
Having not met the participants before
this stage had to take into account how
comfortable or uncomfortable people could be
with sharing their ideas. The first step was
to help the participants feel relaxed with
sharing and discussing their thoughts.

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.

Who do you see using the residency at Kaka point?

What are the possible ways of making revenue?
Possible duration of residences?
Why do we want this residency?
Who are the possible supporters of the trust?
What other programs does it connect to?
What types of activities do you see taking place at Kaka Point?

Discovery
RESIDENCY CARDS

02

The designers used learning and evaluating

exercises to understand current residencies,
national and international. This provided
awareness of other residencies and what they
were doing. This was done in the form of
Residency cards. Each card had a blurb about
a residency and a photo, there was a space
for listing pros and cons and comments.
There were 6 national residency cards and
three international. (See appendices two)
This was to expand on the first activity
and provide a large base knowledge of
information for the participants to consider
when discussing the Hone Tuwhare residency.
The participants were placed into groups of
twos and one group of three, to read and
produces pros and cons of three residencies
that were provided. This allowed ideas to be
discussed in the small groups and factors
from the first activity could be seen in
real scenarios, helping the participants
to understand how a residency could work
with different elements. It also provided
insight into what they felt didnt work or
was poorly executed with in a residency.
Participants were given 10 minutes to go
over the three cards. This amount of time
was insufficient and timing had to be
extended for the activity to be completed to
a standard that would be beneficial.

REVIEW / PRESENTATION / DISCUSSION

The purpose of review was for everyone to
be informed on all the residency examples
and the factors that the participants did
or didnt like. Giving each participant a
better understand of what the group could
see being applicable to the Hone Tuwhare
residency. The time allocated to this
section want insufficient but there were
stages later on that could be sacrificed,
because the designers felt that this stage
was a critical part of the workshop and need
to be followed out.

18

Robert Lord
Writers
Residency
Writers

19

What
Where
Why
When
How
Who?

Prototyping
CREATE

03

These techniques within the mockup activity

created a platform for the end product. In
this case it is not a tangible product but
and idea and system.

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

Evaluation sheets were sent out to each

of the participants, (See appendices 4)
they were asked to rate the workshop. The
over all feedback was quite similar. The
participants who sent back the evaluations
felt that it was very successful and enjoyed
the workshop. Participants were tired after
a days work and made the comment of perhaps
the workshop needing to be in the morning
when ideas, bodies and minds were fresh but
they also acknowledged, due to the nature
of timing, logistics and the workshop only
being possiple for that time period on a
Saturday evening.
Participants indicated that there could be
improvements with the prototypes and how
they communicated their ideas, they felt
that they could not fully express what they
wanted with the time constraints.
From the comment / suggestion section of the
evaluation, time restrictions was mentioned
more than once, this reinforced that the
participants felt they didnt get their
ideas across effectively. A discussion at
the end of the prototype phase was also
another factor that was repeated throughout
the evaluations. It was suggested more time
at the end for discussion of the ideas that
were produced.
It was suggested to have a purpose statement
for each stage, to indicate what the stage
was going to achieve. From the evaluations

and observations while the workshop was

taking place there are areas that could be
refined.

to be improved. It would helpful if the

workshop could be recorded, this would allow
for discussions to be analyzed.

With in the wall poster exercise

(exploration phase) the participants should
have been told which direction to move
around the room to prevent double ups on
questions and confusions of the time left on
each question. Each question was allocated
2miuntes, this would have been sufficient
time, if there wasnt talking amongst the
participants or confusion of which answer
to go to next. The activity achieve what
was desired, and started the workshop off
well to move into the different phases.
Improvement for this stage could be the more
explicit instructions and enforcing the
constraints of the activity e.g. no talking
and move when time is up.

The prototyping phases didnt work as

planed, but the end result was satisfactory.
Each participant was given 10 mock residency
cards, it was estimated that a minute or
two would be spent on each card, making
it a rapid exercise, giving them 15mintues
for all 10 cards. Most participants only
finished three cards; this could have
be due to the design of the card or poor
explanation of what was wanted. Also due to
the time constraints the ideas were just
collected and not discussed as was intended.

The discovery phase was very pressed for

time; 25minutes was allocated to this
section. It was exceeded. Both the card
and review exercise required more time. The
fundamental set up of the discovery phase
was good but the time constants limited the
discussion of each residency. The aim of the
phase was still accomplished but it could
have been more beneficial if there was more
in depth conversations about the current
residencies. In the conversations that were
had, there were many ideas that came up that
were not documented. This is an important
factor to consider and needed

Overall improvements to make the running

of the workshop smoother could be having
time to set all the phases up in advance
and having a timer of some description that
the participants can see so they can be
selective about what they want to share with
the group.

23
1. How would you describe your participation?

Passive

Active

2. Did the workshop encoutage you to share your ideas?

Not a lot

A lot

3. Did the workshop encourage you to be creative?

Not a lot

A lot

4. Did your prototypes communicate your ideas effectively?

Not a lot

A lot

5. Did you learn anything new about writers residencies in the workshop?

Not a lot

A lot

6. Did you enjoy the workshop?

Not 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.

Along with another trust workshop, the

A third workshop could be help with both
community would have to be involved in a
the community and the trust members when the
separate workshop. This would be to make
final residency is being outlined.
sure that they are happy with the vision
that is forming around the residency. The
workshop for the community would be held
differently, as there would be a bigger
group and they would have different aims for
the residence as secondary stakeholders.

Participatory Design Work

Shop report. Representing
findings and reflection on
the consultation with the Hone
Tuwhare Trust.

8TH APRIL 2014

JAN

FEB

MAR

APR

15TH MARCH 2014

Hone Tuwhare Trust Work Shop.
Gain insight for future
residency possibilities and
options. First Participatory
Design lead research.

MAY

JUN

20TH MAY 2014

Hone Tuwhare Trust Workshop.
Gain insight for future
residency possibilities and
options. First Participatory
Design lead research.

27

Possible Kaka Point community

driven workshop.

JUNE 2014
JUL

AUG

Possible workshop.

AUGUST 2014

SEP

JULY 2014

SEPTEMBER 2014

Possible second workshop with

the Hone Tuwhare Trust members.

Final Participatory Design

Report.

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

Workshop in Kaka Point

Michael & Rebecca

Currently studying towards a Masters in

Applied Science while finishing of a BCAPPS
in Design for Technology, I like to think
of design in a holistic manner that is
collaborative, iterative and human centered.
Encompassing all aspects of process and
method to provide insight. For the future
I wish to emerse myself with all things
creative and learn all that I can in design
while balancing myself with passion for
sports, art and the world.

30

Appendices 1 - Wall Paper exercise

31

Randell Cottage Writers Trust, Wellington

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

Appendices 2 - Residency Cards

Comments:

Cons

WHO?

32

Appendices 3 - Mock Residency Card

E.g. 6 months Winter, 2 weeks renting

(Residence name)

Duration:

Resident:

Funding:

Activities:

Manakitanga

HOW?

E.g. Funded holiday, all expenses paid,

paying guest

WHEN?

tourist,exhibitionist,young, Maori

Appendices 4 - Consent Forms

33

Appendices 4 - Consent Forms

34

35

Workshop Plan
5 mins

Designer Introduction
Purpose Statement
Consent Forms

Prototyping
Consent Forms
Pens

15 mins

Each participant is given 10 Kaka Point prototyping

cards. All of the cards have two sides.

Exploration
14 mins

Cards
Pens
Blutac/Pins

Side one Workbook has 3 sections (Who, When and

Wall Poster Exercise

Marker Pens
Newsprint Roll

Individually, participants will answer seven questions,

having two minutes for each question. Each question
will be on newsprint hung on a wall separately.
8 mins

Mock Residency

Side two Final provides an area for participants

potentially work at Kaka point.

Review

3 mins

Personal Review
Participants are asked to choose their best three
mock residencies, and label them 1 to 3. (Most liked
residencies)

Total Time: 25 minutes

2 mins

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.

Total Time: 25 minutes

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.

Total Time: 25 minutes

Appendices 5 - Works Shop Run Sheet