This paper describes how immersive and empathic methods employed in
design and theatre, supported by ‘scripting’ exercises detailing the human
and non-human actors and competencies in given crime scenarios, can
provide tools for designers to better understand the problem context. We
argue, that such methods help generate insight into the opportunistic
mindset of the casual thief, or even the professional career criminal, without
losing sight of the need to design for users.
For design to resist or deter crime, it is necessary to understand the full
context of criminal and user behavior before engaging or trying to build- in
resistant or defensive strategies to objects, systems and services. Also that it
is important when developing models of design scripts, including “script
clashes”, to fully understand how aesthetic or semiotic codes are embedded
within designed objects and how these visual codes might influence
behavior, in ways often not predicted or anticipated by designers.
Our view is that there is little material that gives a full account of the design
against crime process in the way we have been delivering it for 12 years.
Consequently this paper will review a diverse and interdisciplinary range of
materials about “empathy” as well as “design” and “design against
crime”, and also draw on our own experience as a practice led design
research centre, in order to make the case for a new methodological
approach.
DRS 2012 Bangkok
design and theatre, supported by ‘scripting’ exercises detailing the human
and non-human actors and competencies in given crime scenarios, can
provide tools for designers to better understand the problem context. We
argue, that such methods help generate insight into the opportunistic
mindset of the casual thief, or even the professional career criminal, without
losing sight of the need to design for users.
For design to resist or deter crime, it is necessary to understand the full
context of criminal and user behavior before engaging or trying to build- in
resistant or defensive strategies to objects, systems and services. Also that it
is important when developing models of design scripts, including “script
clashes”, to fully understand how aesthetic or semiotic codes are embedded
within designed objects and how these visual codes might influence
behavior, in ways often not predicted or anticipated by designers.
Our view is that there is little material that gives a full account of the design
against crime process in the way we have been delivering it for 12 years.
Consequently this paper will review a diverse and interdisciplinary range of
materials about “empathy” as well as “design” and “design against
crime”, and also draw on our own experience as a practice led design
research centre, in order to make the case for a new methodological
approach.
DRS 2012 Bangkok
