Methods of Contextualising
Project Summary
This project was a process of personal research united through design. We began by each iterating and contextualising our object (architectural spikes) through personal practice, and subsequently discussing how our work held similarities and individual successes. We each explored the nature of visual representation of these spikes, whether through 3D modelling, statistical representation, or vector illustration. We also each aimed to visually represent our research in a print format. It was this physicality of practice that initially united our practice – via presenting unfinished work in a physical format rather than digitally, we could unite our thoughts and begin to iterate collectively to create a unified investigation into our object. This process caused me to consider the nature of investigative design rather than opinionated – our final outcome aimed to maintain a level of objectivity in sharing information on the nature of hostile design, rather than being a piece of protest design. This was removed from my original intentions, however it was through collective discussion and collaborative practice that I came to appreciate the possibility of design for information rather than objection within the context of social issues.
Annotated Bibliography
Anderson, B (2006) ‘Census, Map, Museum’ in Anderson, B Imagined Communities, London: Verso
In this additional chapter for the revised publication of Imagine Communities, Anderson discusses ‘the imaginings of the colonial state’, and the impacts that they have on the overarching view unfamiliar audiences have on previously colonised countries. This is discussed through a series of examples showing how global opinions are influenced by historical colonial powers – for example in the case of maps centring the United Kingdom rather than the country in which they are being distributed. This reference caused us as a group to consider the nature of our practice reconsidering the position rough sleepers can have in a colonialist society. Often, societal opinions will paint stereotypical pictures of those of the ‘outsider’, recentring space in an individualist and capitalistic context. Dethatching from this viewpoint, both in the case of broadly contextualising hostile design and in the context referred to by Anderson, is essential in considering the objectivity of space, and the critically of design that comes with this.
Godsell, S (2002 – 2004) ‘Park Bench House’, ‘Bus Shelter House’, Sean Godsell, [Project descriptions on Webpage]
Available Online: https://www.seangodsell.com/bus-shelter-house [Accessed 12th Feb 2023]
Architect Sean Godsell created these speculative public architecture proposals as a call for ‘compassionate infrastructure’. As stated by Godsell, this is a ‘proposition that the city is a place of sustenance and support for displaced people and that as such, its infrastructure should be designed to (under controlled circumstances if necessary) accommodate rather than shun the homeless.’ While these pieces deal with active solution through design, they provide a clear example of how contextualised and considered design can be used to solve complex humanitarian problems, such as that of hostile design. Godsell’s design practice here takes a pre-existing problem – that of hostile architecture – and subverts this practice into viable and affordable solutions that support the community being rejected through hostile architecture. This form of practice, while speculative in nature, can cause otherwise unengaged audience to both consider their opinions on a specific issue, and to engage with an issue in a neutral space without a political inclination. As this was the perspective we were hoping to achieve with our final designed artefact, this was an important design perspective to be aware of.
Fine Licht, K (2020) ‘“Hostile architecture” and its confederates: A conceptual framework for how we should perceive our cities and the objects in them’ Canadian Journal of Urban Research Winter 2020, Volume 29, Issue 2, p 1-17
Available online: https://cjur.uwinnipeg.ca/index.php/cjur/article/view/290/145 [Accessed 15th February 2023]
In this Article, Fine Licht, K looks to define some key terms surrounding the debate of hostile design and architecture, without engaging in an overtly reactionary manner that has the potential to remove the nuance from conversations such as this. Perhaps most notably here is the distinction between ‘defensive’ and ‘hostile’ architectural design. Often, policymakers may consider their design decisions to be defensive in nature, for example by adding metal studs to the edges of street furniture in order to prevent skateboarding. However, in the case of providing refuge for rough sleepers, this can feel exclusionary and hostile in perception, even if this is not the case in intention. From a design perspective, this caused me to consider the multifaceted problems the issue of hostile design presents – in many cases, those producing street furniture may not consider the ongoing negative effects their design is responsible for due to the prevalence of hostile design in urban spaces. This caused me to attempt to approach the issue with a more objective perspective.
Laranjo, F (2014) ‘Critical Graphic Design: Critical of What?’ Modes of Crititicsm, April 18th
Available Online: https://modesofcriticism.org/critical-graphic-design/ [Accessed 12th Feb 2023]
In this piece, Laranjo discussed the relevancy (or lack thereof) of critical Graphic Design practice in a contemporary, and primarily financially driven, design landscape. Most relevantly to this project, Laranjo discusses the nature of a critical practice that centres with only designers as the audience. For example, Laranjo states ‘An updated post-financial crisis cover created for Adrian Shaughnessy’s book How To Be a Graphic Designer Without Losing Your Soul suggests that criticality is a luxury in the current conditions under which graphic design is produced.’ While this is a difficult factor to consider as a research focussed designer, it was an important to consider how critical and contextualised practice will be considered by a non-design based audience. For example, when considering typography and colour choices when producing our final publication, we aimed to section our publication through design choices. Had this publication been aimed entirely towards experience Graphic Designers, we may have made these choices more subtle, however as this was an outward facing publication, we chose to make them obvious with colour and illustration in addition to typography. In summation, this reference caused me to consider critical Graphic Design in a broader context outside of insular academic practice.
Petty J (2016) The London spikes controversy: Homelessness, urban securitisation and the question of ‘hostile architecture’. International Journal for Crime, Justice and Social Democracy 5(1): 67‐81. DOI: 10.5204/ijcjsd.v5i1.286.
While Petty, J, discusses hostile architecture and its contemporary context broadly, primarily focussing on the 2014 outrage at the installation of architectural spikes outside a private flat block, the most relevant portion of this article to this project in terms of theoretical influence was discussing the consideration of aesthetics alongside the conversation surrounding hostile design. The cold detachment of the statement ‘aesthetics have become an increasingly central concern in the construction of urban and public space’ when considering how those who are sleeping rough are seen by people on a daily basis is an unappealing but notable opinion that many will have. However, as Petty states, the ‘problem posed by the conspicuousness of the spikes is that they appear to commit a visible act of violence against a vulnerable and marginalised population.’ Many people who could otherwise ignore the struggles of those living on the street, when faced daily with the knowledge that the architectural spikes outside their flat block may consider more carefully their apathy when correctly informed – a perspective we wished to pursue with our design outcome.
Semple, S (2022) ‘Design Crime – sticker sheet’ Hostile Design, [image on Webpage]
Available Online: https://hostiledesign.org [Accessed 9th Feb 2023]
Artist Start Semple created these sticker sheets, available for free or a £1 donation, through the online project ‘Hostile Design’ a webpage that draws attention to ‘design against humanity’ in public spaces. This primarily refers to architectural and urban design which is inaccessible or manipulates human action – including hostile design aimed at deterring the comfort and shelter of people sleeping rough. These stickers were designed to for public ‘naming and shaming’ of hostile design, and provided insight into the kind of ‘ground up’ activism and organising that can be done to both inform and engage a public who may be able to look over both cases of hostile design and those who are most affected by it. By both engaging with the space itself, and asking for participation from an already invested audience. While our project was primarily focussed on how design could inform rather than protest, this case study gave a clear example of active and physical distribution of critical design.