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Cardboard Hospital - Prototyping Patient-centered Hospital Environments and Services


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Cardboard hospital is a real-size prototyping environment for hospital environments and services. It is used in co-designing with patients, staff and architects.

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Published in: Design, Health & Medicine
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Cardboard Hospital - Prototyping Patient-centered Hospital Environments and Services

  1. 1. 1Cardboard HospitalPROTOTYPING PATIENT-CENTRIC ENVIRONMENTS AND SERVICESJuha KronqvistHeini ErvingTeemu LeinonenAalto UniversitySchool of Arts, Designand ArchitectureNordic Design Research ConferenceCo-design IIWednesday June 12th 2013
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  3. 3. 3Forgotten patient?
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  5. 5. 5PatientCentredCareWhile many hospitals are placing patient-centric planningof their infrastructure and services in the core of activities,they often lack the skills or tools to put this vision inpractice.– Robinson 2008POLICYECONOMICCLINICALPERSONAL CARE
  6. 6. 6COMPLAINING INFORMINGLISTENING &RESPONDINGCONSULTING &ADVISING CO-DESIGNexpertplanningparticipatoryplanningafter Bate & Robert 2006functionalneedsemotionalneedsexplicitknowledgetacitknowledge
  7. 7. 7ContextBRIEFHow to place patients in the centre of the design process ofa new hospital building?TEAMdesign researcher > participatory & co-design methodsdesigner > interior design & set designAIMCombine set design and with aesthetic understanding tocreate an experiential prototyping environmentPIRKANMAA HOSPITAL DISTRICT
  8. 8. 8Promise Of A Good Care Experience…The patient and their close ones receive a good experienceof the care.…Care is based on trust and listening to the patient.…The patient and their close ones are involved in theplanning, excecuting and evaluating of the care……The staff supports the patient’s ability to prevent and treatillnesses and rehabilitate.– Pirkanmaan hospital district strategy 2012–2016
  9. 9. 9ether in the design development process.shows a simple representation of the design process today. Of noteg emphasis on the front end. Formerly called ‘pre-design’, the many activities that take place in order to inform and inspire thehe front end of the design process has been growing as designers movef what they design.Sanders & Stappers 2008FOCUS OF WORKSHOPS
  10. 10. 10Theoretical inspirationWe give meaning to things through our(aesthetic) interaction with the world.Johnson 2007Props connect terminology to theeveryday practices that are associatedwith them.e.g. Ehn 1993Co-design materials are central agents inaffecting the outcomes of collaboration.Agger Eriksen 2012Aesthetic artifacts convey meanings andexperiences through interaction withtheir users.John Dewey 1934
  11. 11. Further inspiration11LARS VON TRIER: DOGVILLEMinimal use of props support an illusion ofa believable environment.KALASATAMA TEMPORARYA temporary “non-place” (Augé 1995) intransition from industrial to residencyreappropriated by the public for newmeanings.
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  14. 14. 141st drafts of the workshop spacePrototyping the interactions through scale models
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  18. 18. 18Structure- Pre-workshop sensitizing- Entering the workshop- Introduction- Sharing and discussing- Construcing the patientjourneys- Building and testing- Sharing the results anddocumenting
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  22. 22. 22EVERYDAY SCALE, AMBIGUOUS FORMThe hospital environments have many historical conventions according to which they are builtand arranged. By stripping the self-evident and obvious from the elements we tried to framethinking from how-things- are to how-things-ought-to-be.
  23. 23. 23REAL-WORLD ELEMENTS POINT TOWARDS EXISTING SOLUTIONSBringing in too realistic things seemed to frame thinking too much in existing solutions inearly design-phase workshops. Removing specialized elements brought the focus back onexperience instead of furniture placement.
  24. 24. 24WORKSHOP ENVIRONMENT AS A “NON-SPACE”Although the space was recognizable as a generic architectural construction, most of thevisual elements did not point towards a specific place or time. This temporal and geographicalambiguity created a state between times, which can make it easier for participants to imaginealternative states of things.
  25. 25. 25PROPS AS “NON-THINGS”They hint at possible functions, but they do not embody ready meanings or functions and thusthey can be repurposed and reimagined by the participants.
  26. 26. 26AESTHETIC SETTINGS FOR AESTHETIC PRACTICESThe workshop setting has a dual role of framing and inspiring the action. On the other handthe set design guides behaviour and interactions within the workshop, on the other it invitesparticipation in an artistic practice not as an outsider, but as a creator and a designer.
  27. 27. 27THANK