iDo Colombia - · PDF fileCorazones (Hearts Home) and Centro Albachiara (Center Bright Sunrise) from the Children of the Andes Founda - tion (Fundación Niños de los Andes) in Bogotá,

To my mom, the ray of light guiding

my path as a courageous woman.

May life allows for more walks together.

And to my Nona, the shooting star that

planted the seed of who I am now.

One day we shall meet again.

iDo ColombiaUsing Design as a Tool to Create Opportunity for Homeless Teenagers in Bogotá, Colombia

Creative Work submitted to the faculty of the

Design and Industry Department at

San Francisco State University

In partial fulfillment of

The requirements for

The Degree

Master of Arts

In

Industrial Arts: Product Design

By

Cristina Isabel Perdomo

San Francisco, California

December 2011

Copyright

Cristina Isabel Perdomo

2011

CERTIFCATION OF APPROVAL

I certify that I have read iDo Colombia: Using Design as a Tool for Creating Community and Opportunity for Homeless Teenagers in Bogotá, Colombia by Cristina Isabel Perdomo, and that in my opinion this work meets the criteria for approving a creative work submitted in partial fulfillment of the requirements for the degree: Master of Arts in Industrial Arts: Product Design at San Francisco State University.

Martin LinderAssociate Professor of Design

Hsiao-Yun ChuAssociate Professor of Design

Shirl BussAdjunct Professor of Design

Acknowledgements

I would like to thank all the “muchachos” (young men), tecahers and psycotherapists at Fundacion Niños de Los Andes. You opened your hearts to me and allowed me in. You guided me through the delivery of this curriculum and your hard work made our graduation ceremonies shine of creativity and beauty. Without you, this project would have never become a reality. I hope to be able to keep it alive and to continue bringing light to other teenagers not only in Bogotá, but also in many other parts of the world. Thank you Patricia Gonzales for always staying in touch and believing in this project.

Many thanks to my dear partner Simon Jones for helping me editing my proposal and this final document, for all your emotional support as I faced fears, demons and strange adventures. Without your love and inspiration, this project wouldn’t have been successful. I love you so much. To my dear mom, I want to say gracias de corazon. Your words of wisdom, love and trust paved the road towards me finalizing my masters and being able to focus on what I truly cared about. Once again, you are the light of my life. I also would like to give huge thanks to those family members and friends that donated to the cause at the fundraising event happening on June 2011. With all your support, I was able to raise six hundred dollars. That money helped me geting all the necessary materials and tools to successfully deliver this curriculum.

Many thanks to Professor Marty Linder for allowing this project to become a big part iDo and to the whole iDo team for guiding me as I kept on coming with crazy ideas and prototypes. I also would like to thank Professor Hsiao-Yun Chu for showing me the path to follow and encouraging me to stay true to my roots as well as Professor Steve Jones for giving me a hand in the layout of this document. Thank you Professor Shirl Buss for cheering me up when I most needed it.

Muchas gracias to the beautiful people in Bogotá, Colombia for the attention you gave to this project and all the support you provided me. I will never forget this time of my life and hope many more opportunities like this will come.

Abstract

iDo Colombia is a design curriculum that I developed to help homeless teenagers in Bogotá, Colombia. My aim was to provide the teenagers with a basic understanding of industrial, graphic and architectural design skills that could be applied in their everyday lives. By creating an understanding of the design process, I aimed to help them identify, analyze and solve design problems, while also helping them address personal challenges. To achieve this, the cur-riculum focused on the expression of emotions with the ultimate goal of helping the teenagers to learn potential new and enjoyable ways to earn a living. In addition, the curriculum was designed to foster environmental awareness and teamwork.

The curriculum was developed between Fall 2010 and Spring 2011 and was inspired by iDo (Industrial Design Outreach). It became a branch of iDo and with the guidance of iDo’s mentors it was finalized and given its ultimate name. During June and July 2011, I delivered iDo Colombia at two emergency centers of the Children of the Andes Foundation in Bogotá, Colombia. Leveraging the insights from the two-month program, I have re-structured iDo Colombia to help educators and designers continue to use design as a tool for social change.

I certify that the Abstract is a correct representation of the content of this creative work.

Martin LinderChair, Thesis Committee Date

Table of Contents

page 17 Chapter One: Introduction I.II Objectives of the Study I.III Statement of the Problem I.IV Sub-Problems I.V Scope/Limitations

page 27 Chapter Two: Initial Research II.I iDo

II.II Project Based Learning II.III Volunteer Mentorship

page 37 Chapter Three: Curriculum Design III.I Inspiring Examples III.II Methodology/Analysis

page 45 Chapter Four: Actual Conditions IV.I Life at the Emergency Centers IV.II First Encounter with Teenagers IV.III Curriculum Recreation

page 51 Chapter Five: Four Profiles V.I Jeison V.II Jerickson V.III Walter V.IV Julian

page 55 Chapter Six: Curriculum Delivery VI.I Daily Breakdown VI.II Graduation Ceremonies VI.III Inspiration, Ideation and Prototyping

page 77 Chapter Seven: Contributions and Successes VII.I Trust and Love VII.II Collaboration and Friendship VII.III Ownership and Pride VII.IV Education VII.V Hope

page 81 Chapter Eight: Four Profiles - Their Noisemakers VIII.I Jaison: Drumset of Life VIII.II Jerickson: Kool Drumset VIII.III Walter: Tama VIII.IV Julian: Free Sound

page 91 Chapter Nine: Ideal Conditions for Curriculum Delivery IX.I Longevity IX.II Support IX.III El Barrio IX.IV After School Programs

page 97 Chapter Ten: Conclusion X.I The Challenge X.II Design for Social Change X.III Design Thinking X.IV Non-Profit Community Work X.V Personal Note

Appendix A. Curriculum SchedulesAppendix B. VocabularyAppendix C. Works Cited

The only important thing about design is how it relates to people ~ Victor Papanek

Chapter OneIntroduction

People ignore design that ignores people ~ Frank Chimero

18 iDo Colombia 19iDo Colombia

This project is inspired by iDo. “The mission of the Industrial Outreach Project (iDo) is to promote the field of indus-trial design and use of its methodologies to enhance education.”1 iDo is a collaboration between public high-school professors and SF State college students on hands-on interdisciplinary design projects that provide “high-school stu-dents with experiences that foster curiosity, promote creativity, and build self-confidence.”2 The aim of the program is to help students develop vocational skills in the industrial design field.

In the summer of 2011, a related program that I designed was delivered to homeless teenagers living at the Casa Corazones (Hearts Home) and Centro Albachiara (Center Bright Sunrise) from the Children of the Andes Founda-tion (Fundación Niños de los Andes) in Bogotá, Colombia. With this program, I aimed to help homeless teenagers gain a basic understanding of industrial design skills that could be applied in their everyday lives. The idea was that an understanding of the design process was going to help them identify, analyze and solve problems. This would also help them express their emotions, learn new ways to make a living, become more environmentally conscious and learn how to work as a team.

1 iDO Industrial Design Outreach, mission statement.2 Ibid.

California Community Bench. Img: Industrial Design Outreach 2011.

The Fundación Niños de los Andes has been active for almost three decades and in that time has helped transform the lives of hundreds of children. The foundation conducts psychological work with abandoned kids and teenagers to help them become a valuable part society. Many graduates of the program have confirmed that it has helped them to:

• Escape from violence, prostitution and drug addiction • Increase their weight and overcome malnutrition • Acquire the skills necessary to sustain themselves• Enjoy healthy recreation• Heal their physical and mental wounds• Enjoy their childhood and escape child labor• Share their life with their peers • Learn how to forgive • Make their dreams a realityToday, 75 percent of graduates of The Children of the Andes Foundation have left the streets behind and now live

normal and successful lives with new families. Unfortunately, the other 25 percent relapses into homelessness and drug addiction.3 See Figure 1. 1.

I.I Genesis of the ResearchFrom the moment I started my graduate studies in the Design and Industry department at San Francisco State Uni-versity, I wanted to focus on something that had a connection with my Colombian heritage. At first, I wanted to create a piece of furniture with Colombian symbols that also included a modern European feel. During the first year of my graduate studies, I kept on going back and forth on how to achieve a meaningful design for the Colombian Diaspora. I knew that I wanted to create a product or a piece of furniture that could be used in my country and other communities around the world.

In search of a meaningful way to focus my thesis, I decided to join iDo. After the first couple of months of be-ing part of the organization, I developed an understanding of the importance of bringing design education to at risk teenagers. By joining the California Bench curriculum as a mentor, I learnt how to develop an experience for children and realized that I could share my designs with others through both a designer-user relationship and importantly, a designer/mentor-student relationship. As a result, I refocused my creative work with the goal of bringing a similar experience to Colombia.

The next step was to identify the most appropriate part of Colombian society to work with and after seeing the documentary The Two Escobars, I decided to focus on homeless kids. The Two Escobars explores violence and in-equality in Colombia. The film focuses on Pablo Escobar, the world’s most wanted drug lord of the eighties and nine-ties, and Andres Escobar a humble soccer player raised in the slums of Medellin. The following quote inspired the concept behind this creative work:

We went to school in the same neighborhood, our families didn’t have enough money to feed us, and one day Pablo said a phrase that caught my attention: ‘Jaime, cousin, no rich person in Colombia does anything for the poor. How can we balance inequality in our country? Stealing from the rich. What opportunities of education and employment did Pablo have? His option was to steal. Soon he turned to more lucrative ventures like contraband and dealing drugs -

3 “Perfildeingreso,”2010

Figure 1.1. Programa2010.(2010)Img:Fundacion Niños de Los Andes 2010.

Pablo Escobar. Img: Fotolog 2011.


Jaime Gaviria, Pablo Escobar’s cousin. 4 As a child, Pablo Escobar wanted a bright future, yet because of the lack of accessibility to education and opportuni-

ties, he turned to the streets to become “El Capo” (The Boss). Over the next twenty five years he was responsible for more than 5,000 murders.

Pablo Escobar was born in the 1950s, a very difficult time for Colombia. According to the International Bank of Reconstruction and Promotion, the Colombian educational system was grim. The rate of illiteracy impacted 44 percent of the population and grade school reached only 46 percent of children between seven and eleven years old.5

The Two Escobars opened my eyes to the necessity of providing educational opportunities to children and teenagers not only in Colombia, but also in other parts of the world. It also made me question whether poor kids in Colombia knew what design was. At that moment, I saw a strong connection between the work done at iDo, bringing design education to high school students, and the necessity to offer possibilities to children, teenagers and young people in Colombia.

I.II Objectives of the StudyThe project’s curriculum was developed during the second semester of 2010 and the first semester of 2011. It was first implemented at Casa Corazones in June 2011 then evaluated to determine its impact and finally re-delivered at Cen-tro Albachiara. When developing a curriculum, it is important to set clear objectives in order to maintain focus. The following objectives were identified:

1. Teach the design process to the teenagers from the Fundacion Niños de Los Andes – I aimed to introduce participants to the different steps designers go through in order to solve a problem and give them a frame-work to apply that rationale to challenges faced in everyday life. I believe the design process should be inclu-sive and universal.

2. Provide basic design/construction skills and ideas – With small workshops and visual galleries, I taught basic design concepts through the construction of prototypes. My goal was to allow the teenagers to combine their skills with design concepts in order to help them rejoin broader society and evaluate other possibilities to survive.

3. Gain insights to be applied into future design education programs such as iDo – This was the first time iDo-like concepts have been applied in a different geography and with a different target group. As such, it presented an excellent opportunity to gain unique insights that could be used to refine future design outreach projects and increase their probability of success.

These will be elaborated in section II.II

I.III Statement of the ProblemProgressive urbanization in Colombian cities, especially Bogotá, has accelerated since the 1980s when violence hit its peak. Families from rural parts of the country have been forced to move to the main cities either looking for bet-ter opportunities or to escape from armed conflict. This migration forced the creation of poverty belts in the south of Bogotá where there is a lack of shelter and basic services for the majority of its inhabitants. This has become a con-tinuous threat to members of thousands of families that live there and has forced them to look for alternative forms of

4 Zimbalist, The Two Escobars.5 Iregui,Melo,&Ramos,2006.,181.

Internally displaced woman carrying a child in the Altos de la Florida neigbour-hood in Bogota. Img: REUTERS/John Vizcaino 2010.

What opportunities of education and employment did Pablo have? His option was to steal.

survival. As a consequence, families that were once solid become vulnerable because of the pressure to survive under the demands of an urban setting. These irregularities force the head of the family to abandon his/her family, leaving children alone and on their own to survive under very precarious conditions. As a result, the number of children living on the street has increased. On the streets, they quickly become adults with children and because of the same urban pressure they often abandon their own kids. This quickly becomes a vicious circle.

On the streets, kids have to learn rules of survival and adopt behaviors provided by the street sub-culture such as prostitution, sexual exploitation, robbery, abuse of psychoactive substances and illegal mechanisms of survival. Ac-cording to the Colombian DANE (National Administrative Department of Statistics) in the late 90’s the percentage of kids living on the streets was 1.2% and in 2009 increased to 1.8%. Reasons to live on the streets are diverse: family problems (53%); negative friendships (14%); loss of family (4%); forced displacement (4%); school desertion (1%); other reasons (24%)6. Another cause of this problem is the lack of access to basic education, and the absence of sexual education especially to young teenagers that engage in sexual relations at a very early age (12 y.o girls and 14 y.o boys). The young teenagers’ children are often left alone on the streets as their young parents don’t have the tools to meet their basic needs.

Kids and teenagers that live on the streets have access to many negative things, including drugs, which could lead them to engage in illegal activities (see fig. 1.5).7 “With trust in the home severely eroded by violence, children spend long periods of time in the streets with their friends. Young men often join gangs or military groups associated with political violence. Young women engage in sexual relations at an early age, often becoming pregnant.”8 Teenage life anywhere in the world is challenging and involves decisive moments that mark a young adult’s future. “Adolescence is generally understood as the period between the ages of 15-19 … the term young adult is the most apt term for this age group, and without doubt, many biological, psychological, and behavioral changes take place.”9 When teenagers are not provided with the right educational tools they may choose vandalism, drug use and criminal behavior as a response to boredom and a lack of opportunity.10 Through this project, I wanted to share an educational tool (design) that could help improve the life of street teenagers. My intention was also to reconnect them to their true selves by showing them what other designers, artisans and artists had done in order to share their identity. Through creative expression, homeless teenagers developed a positive sense of identity and purpose.

6 “Decralacioncomitede,”20107 Moser, Urban poor perceptions of violence and exclusion in Colombia., 23. 8 Ibid.9 Tompkins,Teen Life in Latin America and the Caribbean, xii.10 Bartlett, Children’s Experience of the Physical Environment in Poor Urban Settlements and the Implications for Policy, Planning and Practice, 71.

Kids and teenagers that live on the streets have access to many negative things, including drugs, which could lead them to engage in illegal activities.


I.IV Sub-Problems• Lack of hope: It is important to keep in mind that not everyone believes in providing opportunities to all

members of society. On March 2, 2011, I had the opportunity to share my creative work idea with industrial design students from the National University of Colombia. After my presentation, one of the students asked me: “Why would you teach design to these teenagers if they won’t become designers? After all, to be a designer in Colombia, you need to have a Masters in Design and these kids won’t be able to afford such education.” With that question in mind, I decided to design a curriculum that would not only inspire a new generation of designers, but importantly introduce homeless children to the design process and how it can be applied in their everyday lives.

With trust in the home severely eroded by violence, children spend long periods of time in the streets .

Through iDo, I learned how to communicate to high-school students in San Francisco, but in Bogotá, I was facing a very different challenge .

Problems Faced by Young Poeple in Rosario, Giron, Identifued by a Group of Six Young Men (aged 14-18).

Figure 1.2. Cathy Moser. Ed., Urban Poor Perceptions of Violence and Exclusion in Colombia.(Washington:TheInternationalBankofReconstructionandRemodeling,2000),23,7.1.


experience. I achieved this by empowering them through design, allowing them to help each other, boosting their self-stem, and importantly, supporting their points of view.

• Cultural difference: When working in an unfamiliar environment, it is important to keep an open mind. Despite the fact that I was born and raised in Colombia, by the time I went back to deliver this curriculum, I had not lived there in twelve years. In that time, many social and economic changes had taken place in Bogotá and the language had also changed, especially among young teenagers. As I wasn’t sure how the teenagers would react to me, I tried to bridge the cultural gap by working closely with the foundation’s coordinator Patricia Gonzales before the project commenced. She shared informative literature about the foundation and the teenagers, which I read thoroughly in order to try to understand the cultural differences.

• Failure: There was a strong probability that bringing design education to at risk communities would be unsuccessful. First of all, members of such communities have unique needs and life experiences. For example, they may need to rapidly acquire new skills that could help them find a job or they may require support to help them recover from physical and/or psychological traumas. As a result, it is important to constantly seek guidance on how to continue the delivery of the curriculum. Through iDo, I learned how to communicate to high-school students in San Francisco, but in Bogotá, I was facing a very different challenge. To meet that challenge, I needed to rapidly transform my curriculum to meet the unique needs of homeless teenagers in a developing country.

• Longevity: Creating awareness in the community can help increase the projects chance of success. Although this project was only meant to last seven weeks, I would like to be able to transfer it to industrial design students at universities in Colombia. To achieve that goal, I have started to speak with students and directors at the National University of Colombia to see if it will be possible to make iDo Colombia an ongoing program. I also hope that through iDo SFSU, I can help to recruit students that can continue to build on this idea.

• Financial Sustainability: Before starting a project that requires significant material acquisition and traveling, it is important to make sure the appropriate funds are available. In my case, I organized a fundraising event before leaving San Francisco that allowed me to raise more than $500 to invest on materials. I was also able to secure financial support from iDo SF. The combination ensured that I had the economic resources required to successfully execute the program. To sustain this type of workshop at the foundation, I could work with the foundation’s directors to identify corporations that would like to invest in design education and the community. For example, Hitachi sponsors the SF State University/Hitachi Universal Design Elementary School Workshop. We could also try to develop partnerships with other nonprofit organizations to pool resources and/or make curricula available online for free in order to encourage design education.

I.V Scope/LimitationsAccording to Sheridan Barlett, teenagers enjoy engaging in playful activities that involve creative thinking. “Given a reasonable level of health and security, and given the opportunity, most children choose to play – to engage passion-ately with the world around them through exploration, manipulation, physical exuberance, experimentation and pre-tence, either alone or with others … distinct changes in the brain occur as a result of play … both social behavior and the capacity for learning are affected.”11 My creative work proposal focusesd on creating an experience for a specific group of the Colombian population: homeless teenagers. This project could serve as a reference for other internation-al design education projects . The curriculum’s goal was to engage students to become active participants in their own

11 Bartlett, Children’s Experience of the Physical Environment in Poor Urban Settlements,68.

Changes in Colombia from when I used to live there can be seen in the public transportation system. Left, buses on North Avenue inBogotatheyearImovedtotheU.S.Right,NorthAvenuein2011.Img:www.skyscrapercity.com2011.

The curriculum’s goal was to engage students to become active participants in their own experience

Chapter TwoInitial Research

Content precedes design. Design in the absence of content is not design, it’s

decoration ~ Jeffrey Zeldman


II.I iDoIn 2003, the Design and Industry Department at San Francisco State University launched a design outreach pro-gram staffed by the department’s students and delivered to high school students called iDO (Industrial Design Outreach). “The mission of iDo is to promote the field of industrial design and use its methodologies to enhance education.”12 At the program, public high-school and university students collaborate on project-based interdisci-plinary activities. The program provides high-school students with experiences that foster curiosity and creativity, while building self-confidence. Students also develop vocational skills in the design field.

iDo provides university students the opportunity of working in team, developing public speaking skills and cre-ating educational design curriculums. To high-school students, it provides a non-cost introduction to design and its methodologies. The program has been successfully implemented at:

• Abraham Lincoln High School• Academy of Arts and Science High School• School of the Arts (SOTA)• Thurgood Marshall High School iDo currently serves thirty high-school participants at one high-school site each semester. That is, sixty participants

in the academic year (age ranges 16-18). In the 2007-2008 academic year, iDo began at Marshall High School in order to reinvigorate the school in the Bayview Hunters Point area of San Francisco, while at the same time expanding its reach to a greater number of culturally and racially diverse low-income students. On a yearly basis, about sixty college students volunteer as iDo mentors providing more than 9,000 hours of community service to public-school students.

iDo has successfully completed projects such as product packaging, illustrated books, musical instruments, light-ing, apparel, furniture and lighting design. “Over a one year period in 2010-2011, iDo created six new, sequential, experiential, educational experiences with emphasis on design skills and creative problem solving methodologies.”13

In the academic year 2010-2011, iDo provided design education to 34% African American, 38% Asian, 0.6% American Indian, 4% Filipino, 16% Hispanic, 5% Pacific Islander, and 1% Caucasian high-school students. In addi-tion, “63% of the students came from economically disadvantaged backgrounds, 37% were English language learners, and 30% were students with disabilities.”14 In 2008-2009 and 2009-2010, iDo high-school participant survey, students responded to a series of questions: 91.3% of respondents thought the class made them greatly or somewhat more creative, 62.2% thought the teachings of design methodologies improved their ability to perform in other academic subjects, 63.2% thought the design class improved their interest in other academic subjects, 40% indicated that they were interested in pursuing a design career and 46.2% rated the iDo project as Excellent, 33.8% as Very Good and 18.5% as Good.15

12 iDO Industrial Design Outreach, mission statement.13 iDo.MirandaLuxProposal.201114 Ibid., 1.15 Ibid., 2.

On a yearly basis, about sixty college students volunteer as iDo mentors providing more than 9,000 hours of community service to public-school students.


II.II Project Based LearningExperiential education or project-based learning is an approach to learning that is used on the belief that people learn best from doing. “It involves the participants as active learners through direct participation in experiential or adven-ture based activities that simulate what is being studied rather than through thought and study alone.”16 The ultimate goal of this type of education is to facilitate the development of knowledge, skill and value to the participants. Accord-ing to a study performed by the NTL (National Training Laboratories) Institute for Applied Behavior, people retain approximately 90% of what they experience, 20% of what they read and hear and 40% of what they observe.

In order to work with teenagers that have had traumatic experiences, educators need to readjust their education techniques and curriculums. When talking to Patricia Gonzales about the activities I could develop for the teenag-ers at the foundation, she highlighted that because of their emotional traumas, their attention span was shorter than regular teenagers. She also highlighted that they seemed to learn more from creative activities rather than typical aca-demic lessons. According to Trinity Teen Solutions a Wyoming based residential treatment facility for troubled teen-age girls, experimental learning activities prepare teens for the real world rather than for fictitious case scenarios.17 Since one of the main goals of this project was to provide the teenagers with skills that they could apply in their ev-eryday lives, I decided to create an experiential design curriculum. That was a curriculum that involved problem-solving, decision making and self-exploring experiences in order to give the teenagers an opportunity to stay focused and work autonomously.

According to a poll conducted by the Signal Hill Group (education consultans), when asking educators about experiential education, “respondents felt strongly that experiential learning was “Somewhat Effective” or “Very Ef-fective” at motivating students to learn (92%), at getting students interested in higher education and careers (85%), and at curtailing dropout rates (79%). Additionally, 9 out of 10 respondents (90%) also felt strongly that experiential learning was “Somewhat Effective” or “Very Effective” at raising academic achievement.”18 Ideally, iDo Colombia will inspire homeless teenagers to attend or stay at school and pursue further technological education in order to have stable lives and be useful to society; therefore creating an experiential learning curriculum seemed to be the correct choice.

In order to guide myself while developing and delivering the curriculum, I followed a set of rules provided by the National Society of Experiential Learning (NSEL):

1. Students know what the purpose of the activity is and what are the expected goals. 2. The facilitator must prepare not only the activity, but also the materials to be used during the activity. Stu-

dents must know what materials or techniques they can or can’t use. The facilitator must correctly distribute the time allotted and allow enough time for the early stages of the experience.

3. “The experience must have a real world context and/or be useful and meaningful in reference to an applied setting or situation. This means that is should be designed in concert with those who will be affected by or use it, or in response to a real situation.”19

16 “Aboutexperimentaleducation,”201117 TrinityTeenSolutions,201118 SignalHillGroup,Inc.,200419 NationalSocietyforExperientialEducation,2011

Figure 2.1.Aboutexperimentaleducation.(2011).Img:http://www.fusionassocieates.com/site/view/298(accessedOctober212010).23,7.1.

Experimental learning activities prepare teens for the real world rather than for fictitious case scenarios.

People retain approximately 90% of what they experience, 20% of what they read and hear and 40% of what they observe.


4. The facilitator must observe how students respond to the experience and re-structure it accordingly. 5. The facilitator must ensure that she/he trains students on techniques to be used during the activity. 6. Monitoring and continuous improvement of the activity will guarantee for it to be enriching for both the fa-

cilitator and the student.7. Outcomes and processes should be systematically documented with regard to initial intentions and qual-

ity outcomes. “Assessment is a means to develop and refine the specific learning goals and quality objectives identified during the planning stages of the experience, while evaluation provides comprehensive data about the experiential process as a whole and whether it has met the initial intentions.”20

8. Through and at the end of the experience, the facilitator must acknowledge and recognize the student’s per-formance. “Culminating documentation and celebration of learning and impact help provide closure and sustainability to the experience.”21

II.III Volunteer Mentorship“Supportive relationships with non-parent adults can powerfully influence the course and quality of adolescents’ lives.”22 Unfortunately, many low-income adolescents lack the influence of caring adults. About 25% of children in the U.S. are born into single-parent households, and half of the current generation of children, most likely, will live with only one parent. In addition, cuts in school budgets have led to even fewer adults per child. Not to mention the effect that declining neighborhood safety has in creating social isolation; therefore restricting opportunities for intergenera-tional contact. To address these problems, mentoring programs have emerged and proliferated in recent years. Volun-teer mentoring typically involves relationships between youth and adults, where the adult offer assistance in meeting the youth’s academic, social, and/or personal needs. At iDo, university students (adults) mentor high-school students (youth) in order to help them express their lives through design. Likewise, through iDo Colombia, I hoped to serve as a mentor to the teenagers from the Children of the Andes Foundation by introducing them to the design world and planting a creative seed in their brains.

“A growing number of evaluations suggest that volunteer mentoring relationships can positively influence a range of outcomes, including improvements in peer and parental relationships, academic achievement, and self-concept, as well as lower recidivism rates among juvenile delinquents, and reductions in substance abuse.”23 While interviewing Adriana Cardona, Teacher at the Children of the Andes Foundation, she told me that the activities developed by iDo Colombia seemed to be increasing self-esteem and awareness, as they encouraged the teens to reach inside them-selves and discover that through design and creativity, they could have a mental trip without having to use any psy-choactive substances. Homeless teenagers should not be outcasted from society, they should be included and mentored in order to provide them an opportunity for a real life.

20 Ibid., 1.21 Ibid., 2. 22 Rhodes,200123 Davidson&Redner,1998;LoSciuto,etal.,1996;McPartland&Nettles,1991;Reisner,etal.,1998

Homeless teenagers should not be outcasted from society, they should be included and mentored in order to provide them an opportunity for a real life.

The activities developed by iDo Colombia encouraged the teens to reach inside themselves and discover that through design and creativity, they could have a mental trip without having to use any psychoactive substances.

Chapter ThreeCurriculum Design

Design is about making things good (and then better) and right (and fantastic)

for the people who use and encounter them ~ Matt Beale


III.I Inspiring Examples: •During Fall 2010 and Spring 2011, I worked on the California Bench curriculum at iDo. The bench housed thirty panels made by Thurgood Marshal High School (TMHS) students. Each panel represented a slice of California’s history and how each student perceived it. The curriculum inspired students to look at their personal history and connect it to the history of California. Through this curriculum, I inspired students to learn and celebrate their heritage, explore their creative expression and discover laser technology, as each design was being engraved on a small wood panel. Some of the activities developed by the iDo team were be introduced in iDo Colombia as a way to inspire students to celebrate their cultural roots, enjoy education, and aspire to become someone in the future. • Studio H is the brainchild of product designer and architect Emily Pilloton. It is a public high school ‘design/

build’ curriculum that sparks rural community development through real-world, built projects. By learning about design, including its core subjects and industry-relevant construction skills, students develop the creative capital, critical thinking and citizenship necessary for their own success and for the future of their communities. Over the course of one calendar year, students earn high-school and college credit, and are paid a summer wage to build the community project they have spent the year designing and prototyping.24 Because students are given ownership of their own success and the future of their communities, they tend to be more receptive and engaged in their education. Currently, Studio H is working on a one-year residency in Bertie County in North Carolina. This is one of the poorest counties in the United States with only eight percent of its population graduating from college. The idea of Studio H is that design, education and community development are all interconnected (See fig. 3.1). This is achieved by introducing the design process to high-school students. Part of the process is offering them skills that they can apply when they become part of the work force. In addition, these skills require them to apply what they have learned in other classes. The skills lead to real projects that the students bring to the community. For example, one of the current projects Studio H students are working on is building an open-air farmers market for Bentley County. Through engaging design activities, Studio H works to break from the old style school curriculum into a design oriented education. It is yet another example on how design-education can be beneficial to both teenagers from the Children of the Andes Foundation and their communities.

• VeloCity introduces youth from diverse, underserved communities to cycling-based urban planning and design education. By providing access to information and education, it aims to empower young people to become active in the processes that shape their environment and pursue career options in urban planning, design and architecture. The founders of VeloCity, Karyn Williams, Samelys Lopez and Naomi Doerner (all urban planners), believe that greater diversity amongst the planning and design professions is needed. By introducing under privileged high-school students to the planning and design process of their communities, VeloCity aims to increase diversity in those professions. The idea for VeloCity started after several conversation-filled bike rides. During that time, the founders of the program shared their experiences as women of color in the urban planning and design fields. Aware of the need for greater diversity in their career fields, they set out to make a change by starting a non-profit initiative that brings awareness of planning and design to diverse communities through cycling.25 In summer 2011, VeloCity offered a seven-week Bikesploration free program for thirty teenagers from low-income backgrounds. The program included daily bike tours around New York City that provided an

24 http://projecthdesign.org/projects.html25 VeloCity,2011

opportunity for the participants to learn about the impact of urban planning and design on communities. • Children of the Andes Foundation: In its 2010 report, the Children of the Andes Foundation manifested the need

for people to teach young students how to make Christmas cards. The Foundation also identified the need for designers to teach students how to make useable products with recyclable materials or materials they could easily access. Specifically, they needed designers willing to share their knowledge and guide the teenagers towards becoming active and positive members of society. Any program also needed to provide positive activities for their teenagers to engage in.

III.II Methodology/Analysis• Identifying the objectives of the curriculum: a. Inspire positive identification through design exploration. b. Develop self-esteem. c. Give students the opportunity to share their experiences and knowledge. d. Engage in the process of design and how it may be applied to the challenges faced in real life. e. Introduce the various forms of design. f. Introduce color technology, geometry and composition. g. Showcase advanced design work in order to inspire them.• Suggested Activities: a. Road maps that allow the students to explore their personality, passions and identities. b. With visual galleries, present students with examples of how designers and artists manifest their personality and cultural identification through their work. c. Teach basic concepts of design through presentations and life samples. d. Introduce the various forms of design. d. Showcase advanced design work in order to inspire them. e. Sketching sessions that introduce the students to basic drawing techniques. f. Critique sessions that allow students to communicate their ideas while boosting self-stem and re-assurance. g. Activities in-group that encourage students to work in teams and value different ideas. h. Small scale design projects that require the use of the design process and the exploration of individual skills. i. A final ceremony that allows each student to showcases his/her own work. • Researching possible materials and tools that could be used: Before developing a curriculum it is very

important to know what type of materials and tools will be easily accessible and can be used. This will diminish the chance of having to redevelop the curriculum. After talking with Patricia Gonzales, director of the foundation, I learned that I could not use sharp tools in the delivery of the curriculum. This was a significant obstacle, but it was necessary as there was a chance that the teenagers would use them for purposes different than making their prototypes. After researching different tools, I found that with a Crop-A-Dile the students could alter the materials that the foundation provided. These materials included plastic lids of various sizes, rolls of leather of different colors and thickness and colored paper. In addition, I added the following materials and tools:

a. Crop-a-Dile b. Plastic scissors c. Glue d. Sticky back colored paper e. Crayons f. Straight edge g. Pencil h. Paper i. Scale

Christmas cards made my teenagers at Funiandes.Img:TarjetasdeNavidad.Pro-grama de Voluntareado Fundacion Niños deLosAndes2009.

Figure 3.1. Emily Pilloton. Teaching De-signforaChange.Img:(TEDIdeasWorthSpreading,Nov2010)


j. Balsa wood k. Beads l. Bells m. Colored treads n. Cardboard o. Markers p. Color pencils• Prototyping: Learning about the materials the students will be working with is necessary as this allows the

creative possibilities to be maximized as well as the mastering of how tools will be used. To learn about the materials we were going to work with, I asked Patricia Gonzales to send me samples of all the plastic lids and containers as well as the different leathers. At first, I had the idea of creating a memory keeper and started developing a container.

After presenting them to the iDo team and receiving feedback, I moved away from the container and focused on a richer idea with potential for more identity and cultural exploration. I decided that an instrument would be more appropriate as it would provide a way for the teenagers to communicate their personality and/or experi-ences. I explored these ideas:

Initial Prototypes for a memory keeper. Left: Made with leather. Right: Made with plastic lids.

Crop-A-Dile.


• Four things I wanted students to learn by the end of the workshops: 1. The design process and its applications. 2. Basic design concepts that can be applied in other skiled trades. 3. To express their self identity within usable products or instruments. 4. What design is and how it can be manifested in different forms.• Open communication with program directors: Close collaboration with the directives/workers at the place

where the curriculum will be delivered helps the developer to respect and meet the community’s needs. I partially failed in this, as I developed a seven -week curriculum without knowing the living situation of the teenagers at the emergency centers. I assumed they lived there until they reached the age of eighteen, but in reality, they only stayed there for short periods of time before going to other centers.

• Curriculum development and schedule: Initial seven-week curriculum can be seen in Appendix A.

Close collaboration with the directives at the place where the curriculum will be delivered helps the developer to respect and meet the community’s needs.

I developed a seven -week curriculum without knowing the living situation of the teenagers at the emergency centers.

Chapter FourActual Conditions

A design isn’t finished until somebody is using it ~ Brenda Laurel


Before jumping into the delivery of a curriculum, it is important to understand the place you will be working at and meet the participants. This will help in the mental, emotional and physical preparation in order to decrease the possibilities of having a cultural shock.

IV.I Life at the Emergency Centers

I arrived in Bogotá on June 7th, 2011. I immediately got in contact with Elizabeth Mora one of the foundation’s coordinators. First, she took me to Casa Corazones, which is located in the South of Bogotá (12th Avenue with 30th South Street). As part of the introduction, she taught me about the local public transportation system, as she knew that it was going to be my only form of transportation while living in Bogotá. Once at Casa Corazones, she intro-duced me to Martha Irene Gonzalez, the coordinator of both emergency centers (Casa Corazones and Albachiara). Martha Irene explained to me how the centers worked and what the different paths the teenagers entering the centers could take. (See Figure 4.1)

With regards to the program’s duration and schedule, she made me aware that having a seven-week curriculum wasn’t going to work as some of the teenagers leave after three weeks. She also noted that on a daily basis kids would come and go, as there wasn’t a set schedule of when they started or finished the program. She suggested that I reduce my seven-week curriculum to a three-week curriculum and recommended that I focus on the experience that I was offering them rather than the final product.

IV.II First Encounter With Teenagers After our talk, we went to the communal room where the teenagers were playing football. She asked them to sit down and introduced me. I introduced myself and told them about the design workshops that would be starting the follow-ing week. Many of them seemed shy, but after I asked them what they liked to do at the center, they showed me their handmade “manilas” (bracelets). They had made the manillas as a way to distract their mind and they were weaved colorful bracelets that they tied to their wrists. Some of them were traded among them as a symbol of brotherhood. I took some pictures. Some of them asked me to teach them how to take pictures. They seemed quite excited about the idea of learning about design as it represented a welcome change from simply weaving manillas, playing football and watching movies at the emergency center.

Figure 4.1. Four Paths to Follow at Emergency Centers. Teenagers showing their weaved manillas being used. Great part of their day was spent weaving these bracelets.


After visiting Casa Corazones, I went to Albachiara, which is just two blocks south of the initial house. There I met a bigger (about forty) group of teenagers and quickly introduced the project to them. They seemed ever shier than the teenagers from Casa Corazones and didn’t seem to be as excited about the design workshops. After that in-teraction, I decided to start my workshops first at Casa Corazones where I felt a warmer welcome and then see about working at Albachiara.

IV.III Curriculum Recreation After getting acquainted with the population, it is necessary to revise the curriculum and create the necessary changes in order to increase the possibilities of success. Before starting the design workshops, I had to condense a seven-week curriculum into a three-week time period. This was to take into account the fact that some of the kids stayed at the emergency centers for only a few weeks. If I wanted them to have a full experience, I had to shorten the timeframe. Please see Appendix A for three-week curriculum schedule.

1. Material acquisition: It is important to understand where you will be able to source materials when running a program in a foreign country. Before departing San Francisco, I purchased materials that I knew would be difficult to obtain in Bogotá. For the remaining equipment, I researched possible suppliers close to where I would be staying. The local suppliers were important, as I needed to buy more materials and print out the visual galleries while delivering the curriculum. I spent almost one million Colombian pesos on materials and transportation while in Bogotá (approx 600 dollars).

2. Schedule coordination: Before starting the workshops, I met with Adriana Cardona, a teacher at the founda-tion, in order to create a clear structure for the program. This was important as it enabled me to plan how I would deliver the curriculum and also allowed me to reserve specific times to work with the kids. I was going to have two parallel groups of fifteen students working through the morning. Group one was scheduled to work from 9:00 a.m. – 10:30 a.m. and group two from 10:45 a.m. – 12:15 p.m. No kid would be left out from the workshop.

Opposite page: Neighborhood view from one of the classrooms at Centro Albachiara.

I had to condense a seven-week curriculum into a three-week time period.

Chapter FiveFour Profiles

No design works unless it embodies ideas that are held common by the people

for whom the object is intended ~ Adrian Forty


V.I JeisonSon of abusive and controlling parents, Jeison had to live through the death of his father who was killed in a street fight. His family, composed of his mother and two older brothers, lived in precarious conditions. He escaped his house looking for emotional support on the street, but instead became involved in a world that was defined by humiliation, pain, hunger, cold, alcohol, marihuana and pills.

He entered the foundation in June 2011. He has successfully adapted to the new environment and started to control his drug consumption. He needs two more years of education before he can finish high school, but is not currently going to school. He is sixteen years old and has a daughter. Her mother is also a teenager that consumes high levels of alcohol on a daily basis. In order to survive and help his girlfriend, he learned how to bake and oc-casionally helped at the neighborhood bakery. On June 22nd, he was transferred to the Bosa house where he could go back to school and on the weekends see his daughter. When he turns eighteen, he will have to leave the house and create a life on his own.

V.II JericksonJerickson was born in Tunja, a small city four hours north of Bogotá. He entered the foundation in May 2011. His mother abandoned him and his sister before he was five months old. He was left with his father who found another woman that was violent towards Jerickson and his sister. His life became unbearable as everyday he and his sister argued with his father’s girlfriend. Instead of defending his children, his father sided with his new partner and always ended up beating Jerickson and his sister. As a result, Jerickson decided to leave his house in Tunja and jumped on a sugar cane truck that was going to Bogotá.

Once he arrived in the Colombian capital, he felt disoriented and met a group of panhandlers that inhaled glue in order to suppress their hunger. Jerickson started doing the same. He would spend nights on the streets us-ing newspaper as blankets while sleeping in between a pack of dogs that kept him warm. He learned how to steal money, panhandle, to lie and play games in order to survive.

One evening he was found by a patrol volunteer from the Children of the Andes foundation who gave him bread and warm sugar cane water. They started talking about the program offered by the foundation and other teenagers that were in similar position to Jerickson and wanted to change their lives. He didn’t like the idea of hav-ing to be enclosed in a house, but he was convinced to join the program. On July 13, he was transferred to the St Patrick house where he could study and live until he turns eighteen.


V.III WalterHe was born in Bogotá on February 27 of 1996, and entered the foundation on May 23, 2011. He is the second of eight siblings. His older brother lives on the streets and is addicted to crack. His family has tried to help him, but his addiction needs professional help. His father abandoned him, his brother and his mother before he was one year old. After two years, his mother re-married and she had another five children, including twins and a young girl with Down syndrome.

Walter’s memories of his childhood are very sad. When he was young he could not talk and if he did, his stepfather would beat him and his mother never defended him. Since he was nine years old, he started spending more time on the streets and at age eleven he never went back home. He started sniffing glue and quickly moved to marihuana, alcohol, pills and crack. Because of the pressure of his mother and the help of the foundation’s patrol volunteers, he was brought to Casa Corazones.

Walter said that it had been hard to adapt to the rules of the foundation, he has been forced to stay in the emer-gency center, yet he admits that it will be good for him. He is very excited about changing for good and being able to continue studying. He told me that now he understands his mother and hopes to forgive his stepfather.

In the future he wants to be a professional soccer player, or he would like to study something related to com-puters. He admits being afraid of facing reality, and thanks his peers and teachers for supporting him through the process. He wants to help his brother David by being an inspiration to him.

V.IV JulianJulian was born 14 years ago in San Juan de Rio Seco, a town two hours west of Bogotá. He doesn’t know his moth-er and his father gave him away to his grandmother before he was a year old. His father then moved to another town to start a new life. As his grandmother beat him and was always upset at him, he decided to start spending more time on the streets and start fights with other kids. San Juan’s policemen kept on arresting him, and he started robbing other people and lying to those around him. People in the town didn’t like him anymore. Out of despera-tion, his grandmother sent him away to El Rosal, which is one-hour east from where they lived. There he met with his father who was married to another woman and had three children that were younger than Julian. As soon as Julian arrived at his father’s house, his life became even harder, as his stepmother beat him up and he had problems with his younger brothers. They saw him as a stranger that was stealing everything they had and as a result, they didn’t let him watch TV and he had to sleep on the floor. Before long, he began spending time on the streets and started fighting more with his father and stepmother. Finally, in a desperate moment, his father gave him 70,000 pesos and sent him to Zipaquira, a town one-hour North of Bogotá. He didn’t want to see him again.

Julian knew about the foundation and in mid March 2011, he waited for the bus that transported the children that were already part of the rehabilitation program. He talked to one of the social workers and was admitted into the program. The first couple of weeks at the foundation were really hard as he kept his rebellious behavior and didn’t care about anything. He was angry, held a lot of resentment and escaped and started sniffing glue. After a month, he went back to the center and talked to a psychologist who since then has been guiding him towards the process of rehabilitation.

Chapter SixCurriculum Delivery

Design should never say, “Look at me.” It should always say, “Look at this”

~ David Craib


VI.I Daily breakdown

Day 1: This was the most difficult day. It was the beginning of the design workshops and my first professor-student interaction with the teenagers. As soon as they arrived, I smiled and started greeting them (while shaking deep inside). At first, I had a hard time getting their attention, but thanks to the help of Adriana, by the middle of the first class I was able to openly communicate with them. I quickly realized that I needed to acknowledge the nuisances of their language and speak loudly and clearly, yet with a soft manner. Through a visual gallery, I introduced them to the world of design. I started by showing them famous designers and their design processes and I then showed them images of famous pieces of furniture, art and architecture followed by products made from reclaimed materials. Finally, I shared examples made by other iDo students, myself and their own “manillas.”

After discussing how a designers or artists personality was often reflected in their work, I divided the teenagers into smaller groups in order to create road maps that expressed what inspired them and what they identified with. The ultimate goal of that activity was to help them create awareness of their personal identity and encourage them to showcase it through design.

Observation of the day: The students asked for me to teach them different ways to create objects that they could share with their friends and family. This showed me that sharing their experiences was very important to them. A couple of teenagers didn’t show any interest and were unable to engage in the activity. Others were extremely anxious and wanted to touch everything I had in my hands and on the table.

LeCorbusierobserving,thinkinganddesigning.Img:(NinaLeen//TimeLifePictures/GettyImages)May1,1965

Reclaimed Plastic Bag Chair by Ryan Frank.Img:(socialchangeroom.com)

Favela Chair by Fernando and Humberto Campana.Img:(houzz.com)

The Thinker by Rodin. Img: (http://365artists.files.wordpress.com/)


Day 2: After setting-up the classroom (I had to do this on a daily basis as the classroom was used as a football field in the afternoon), I greeted the students. As they arrived, I noticed new faces and that worried me a little as I didn’t see some of the teenagers I had worked with the day before. I asked the teenagers that had attended the first day to give a brief synopsis of what we had worked on in the previous session. I felt that by hearing their peers speak passionately about the workshop, the new students would be more interested in participating and developing their ideas. After the initial introduction, I asked the group if they had thought about design and how it influenced their lives. In response, two of the teenagers commented on how the design of their homes had an influence on how they lived. After a short discussion about the impact of design on our lives, I walked them through visual gallery number two. It showed the design process I had gone through to design some of my products. The goal was for them to understand that they would need to follow a process when developing their noisemaker.

Next, I gave them sketchpads, pencils and markers and asked them to draw something that inspired them. Many of them drew images of their family members, graffiti or musical notes. Some of them drew landscapes and animals and others made abstract drawings. Everything was valid! After a one-hour session we had mini-critiques that al-lowed each student to talk about his drawing and how it represented him. At the end of the workshop, I asked them to continue thinking about what inspired them and also an instrument that they could identify with.

Observation of the day: The students showed much more interest than the day before and explored their inspirations.

Some students had trouble expressing their thoughts, so I allowed them to write or to simply draw in abstract form. With those that told me “nothing inspires me,” I had to ask various questions. I learned that sometimes they needed to be guid-ed as they had been somehow repressed.

Ideation, developing,prototypingandfinalazingtorcheire.


Day 3: After the students arrived in the classroom, I saw eight new students and learned that an equal amount had left the day before. This made me nervous as I realized that a three-week curriculum wasn’t going to work. At that point, I reduced the curriculum to two weeks.

After having a quick chat about the instruments they identified with and why, we walked through a visual gallery with eclectic instruments from around the world. This allowed them to learn different ways that artisans and musi-cians represent not only their personality, but also their cultural background.

After going through the visual gallery, I introduced them to the noisemaker project. First of all, I showed them the different materials that we had to work with. These included plastic lids of different sizes, rolls of leather of different colors, colored paper, balsa wood, cardboard, bells and beads. Then I walked them through the design process to de-velop the three prototypes I had already made (refer to figures 3.5-3.7 for prototypes). Finally, I showed them how the crop-a-dile was to be used. I let each of them try opening and finalizing a hole with the crop-a-dile as that way they knew the amount of work it required. Once they knew what was expected, I gave them sketchpads in order for them to start ideating their product based on their inspirations and personality traits.

VisualGallery#3:Musicalinstrumentsfromaroundtheworld.(SakaraDrumfromNigeria,TablaDrumfromIndia,PhonoharpfromSanFrancisco).

Ideating their noisemaker.

I realized that a three-week curriculum wasn’t going to work. At that point, I reduced the curriculum to two weeks.


Observation of the day: The students learnt how to express themselves in more abstract ways and began to think like designers. The curriculum has to move fast as this is the only way to keep their minds engaged. When given rewards or positive feedback at the end of each workshop, they feel better about their ideas and that encourages them to be more cre-ative.

Day 4: In order to reduce the pressure on me, I decided that I needed to have monitors that could help me organize the students and keep track of the materials used. After three days of work, I had recognized leaders in the group and wanted to give them a chance to continue exploring their skills.

Once the students were in their seats, I announced the monitors and explained the goals for the day. For those who had not yet defined their instrument sketch, they had until the end of the hour to finalize it. I told them that before jumping into prototyping, I needed to see their ideation drawings and a list of the materials they would be us-ing. I also wanted to understand how they would attach the pieces of their noisemaker together as this would help me identify possible problems and also help prevent time and materials from being wasted. Students that finished their idea and had my approval were able to start prototyping. It was an exciting day.

Observation of the day: Students that were not engaged in the sketching/ideating process got quite excited about the opportunity of working in 3D. Some students decided to work in teams as they saw that as an opportunity to create camaraderie and compete for the best design. The process of design became more obvious as the students started under-standing why having a strong ideation sketch helped them develop a better prototype.

Firstdayofprototypingwhenallthecreativejuicesstartedtoflow.

Day 5: This was a challenging day. As I arrived, the students were gathered in a classroom and the psychotherapists were calling attention to a riot that had happened the night before. I had to start the workshop half and hour late and before starting the psychotherapists advised me to be careful and to not give them too much freedoms with the materials, especially the beads and markers. This created a tense atmosphere that little by little faded and transformed into creativity.

I started the session by asking them about their weekend. Most kids talked about the riot and seemed very upset at the person that had instigated it. I was shocked as that kid was one of the most creative in the class. After the initial talk, I told them that I wanted them to forget about the riot and who had or hadn’t been part of it. I wanted them to know that our space was stress and judgment free. They seemed less tense after that.

After the discussion, we jumped into making the prototypes. There were eight new students that unfortunately had to skip part of the design process and start ideating right away. Thankfully the monitors guided them and in-spired them to work on the project. Throughout the process, I gave suggestions to the students on how to improve their designs or to just simply explore a more complex idea. Most prototypes started taking shape.

Observation of the day: Even though new students couldn’t completely experience the beginning of the design process, they were able to focus more on their creativity by having hands on experience with the materials. The students that had been working since day one or two were developing more stylized prototypes.

Prototyping became more sophisticated and students started receiving feedback.


Day 6: Today was a work session. The students worked on their final prototypes and I introduced them to the idea of a logo. That way, the students that finalized their noisemakers could start working on a logo that represented their inspiration and the final piece. With the help of a visual gallery, I showed them how many famous brands have logos and how designers play with colors, shapes and spaces to create a strong and compelling graphic idea.

Observation of the day: Many students were able to finish their final prototypes while others were still stuck in the ideation process. I decided to apply an iDo idea and pair up the best students that had already finalized their piece with the weaker students. I created various mentors within the group as I wanted every single student to have an experience.

Day 7: This was the last day of workshop before the final presentation or “graduation ceremony.” The students that had finalized their prototypes needed to focus on creating a logo for their noisemaker. Those who were still working on their prototypes were paired with mentors that could help them finish. Everyone was engaged and asked me to extend the session so we had a two-hour session instead of an hour and fifteen minutes. Something really interesting happened this day as we were visited by students from a local high school that wanted to learn about the foundation and the teenagers’ work. My classroom doubled in size. Although I did not know how it would turn out, the experience was rich and inspired the students to work harder and show what they were capable of.

Observation of the day: The students were shy at first as they had never been visited by other students or girls. That

quickly changed and after starting conversations with one another, they began to open up and work together to finalize their prototypes. Teenagers that were working as or with a mentor discovered that by working in teams they could explore their creativity at a deeper level and get more accomplished.

Day 8: Graduation ceremony and final day of workshops: After setting-up a large space and converting it into a prototype gallery, both classes were brought in and we started our graduation ceremony. After various fore-words by teachers and psychotherapists, each student was given three minutes to present and talk about his noise-maker. I believe this created a level of self-confidence as all comments were positive and inspiring.

Visual Gallery # 4: How designers represent a brand through a logo and the different paths a logo can take.

Teenagers that were working as or with a mentor discovered that by working in teams they could explore their creativity at a deeper level and get more accomplished.


VI.II Graduation Ceremonies

Casa Corazones



Danielpresentinghis“SquareofBells,”Omartalkingabouthisguitar,Pabloplayingandshowinghis“WaterStick,”

Centro Albachiara



Inspiredbyloveandthefeaturesofaharp,“BellsSquare”byDaniel.HislogowasthemostsuccessfulatAlbachiara.Carlostransformedsurrealdrawingsofdreamsintoa“GuitarorDreams.”

The“CrazyFan”byEdison.Inspiredbytheexperienceswithdrugsanddesiretochange. Brayanmanifestinghislovetowardshisfamilythroughhis“DrumofLove.”

VI.III Inspiration, ideation and prototyping.

Chapter SevenContributionsand Successes

Design is the fundamental soul of a human-made creation that ends up

expressing itself in successive outer layers of the product or service

~ Steve Jobs


VII.I Trust and Love “The mental, social and emotional growth of children is affected by their nomadic lifestyles and the way in which they are chastised by authorities who constantly expel them from their temporary homes such as doorways, park benches, and railway platforms … Street children lack security, protection, and hope, and continue to face a deep-rooted negative stigma about homelessness. And, more than anything else, they lack love.”26 While interviewing Pablo and Jerikson, I learnt that their self-trust was vulnerable as they hadn’t received the emotional support provided by a typical family structure and had been jaded by living on the streets. Specifically, they admitted to often focusing on the negative and that for the first time, iDo Colombia presented them with the opportunity to focus on more positive things. Pablo mentioned that he had not previously experienced design and had never attempted to design anything. He said that after designing his own noisemaker, he realized that he was capable of creating something unique and aesthetically pleasing.27

By encouraging the teenagers to explore their identity and trust their ideas, I wanted to give them the opportunity to develop a more positive attitude that could ultimately be reflected in their final prototypes. I believe the project achieved that aim as during the final ceremonies at Casa Corazones and Albachiara, many of the teenagers men-tioned love as the main inspiration for their piece.

VII.II Collaboration and FriendshipFriendships are very important to the social and emotional development of children. According to The Cornell inter-view of peers and friends program, for teenagers, friendships reinforce acceptance, understanding, support and trust. 28 Developing friendships while living on the streets is not easy. According to the University of Sao Paulo’s Journal of Public Health, boys of the street show significant problems involving friendships, especially greater aggressiveness, as well as diminished self-esteem, social skills and developmental appropriateness. As they are forced to survive on their own, they struggle to trust people and have a hard time making friends. The journal also points out that when look-ing for a friend, homeless teenagers tend to look for someone older that might be able to defend and help them.

A few days into the delivery of the curriculum, I started creating monitor-peer relationships to support my work in the classroom. By establishing these relationships, I was also able to encourage leaders to share their talent and support those that needed guidance. In addition, I created mentor-mentee relationships that allowed talented stu-dents that had finished their projects before the deadline to help students that had a hard time developing a design. A specific case is Julian and Wilson. At the Albachiara center, Julian was one of the more creative teenagers, yet he didn’t seem to have the personality to be a monitor, as he was less outgoing than his peers. Two days before the final ceremony, Julian had finished a successful prototype with its respective logo. I asked him if he would be willing to help Wilson, a student that had constantly changed his idea and didn’t have a finished prototype. At first he seemed reluctant, but soon he embraced the idea after I told him that the best leaders are those that help others and share their talent. On graduation day, Wilson was able to present a final prototype and Julian admitted that the experience had transformed their relationship and in the process, strengthened their friendship. He told the whole group that before he saw Wilson as a weak peer and didn’t defend him when other teens beat him up. After the project, Julian manifested the need to protect Wilson. By the end of Wilson’s presentation, they hugged each other.

26 Kanth,PrayasJuvenileAidCentreSocietyBruceHarris&CasaAlianza,200427 Pablo,201128 Kernberg, Clarkin, Greenblatt & Cohen, 1992

VII.III Ownership and PrideAccording to University of Minnesota’s Keys to Quality Youth Development report, young teens that experience belonging, ownership and pride feel more included and motivated to participate in their community as leaders.29 By supporting creativity and consideration of everyone’s ideas and designs, the students felt accepted and became more involved in the development of their final prototypes. Every two days, I encouraged the teenagers to speak to the whole classroom and share their design. This experience encouraged them to take ownership of their project and made them feel proud of their own work. In addition, it reassured the students that had already developed design skills and encouraged them to help their peers. Finally, by organizing a final ceremony and giving completion cer-tificates, I provided room for every student to share his project not only with his peers and teachers, but also with his family and friends. After the ceremony, they all seemed happy and proud of themselves. While interviewing Pablo, he manifested that this project made him discover things about himself that he didn’t know before. He told me that he was proud of what he was able to design and would like to further develop an education in design. This proved that iDo Colombia had actually had a positive effect on his life.

VII.IV Education From self-experience, I can testify that living under precarious conditions in Colombia limits the opportunity to learn about different forms of making a living other than the traditional ones. Access to creative forms of expression is somehow elitist, as people with limited income cannot contemplate exploring forms of living other than the ones their families teach them. In many public high schools the education of creative arts is minimized, as expanding the curriculum would mean an increase in tuition.

While interviewing Walter and Jefferson, they told me that they had not been encouraged to be creative and in-stead, had been focused on basic survival from a very early age. Walter said that he knew about art by panhandling in downtown Bogota, but was not aware of specific artists. With visual galleries, I was able to introduce them to vari-ous designers and artists, some of which Walter recognized. By the end of the curriculum, they learned that people around the world make a living from their creative skills and that they themselves had the potential to be creative.

VII.V HopeUsing design education as a tool for social change, iDo Colombia aimed to give homeless teenagers the opportunity to live the life of a regular teenager. While interviewing Adriana and Olga, they told me that many of the teenagers at the foundation came from families that forced them to work at a very early age. This separated them from other teen-agers and forced them grow up very quickly.

I aimed to provide homeless teenagers with a safe environment that allowed them to be themselves and express their creativity. By working with other teenagers and having final critiques, they also learned that there were other teenagers that had similar experiences and could be of emotional support and inspiration.

29 Almquist,Brekke,Croymans,Fruechte,Matlack,McAndrews,Morreim,Ogg-Graybill,Piehl,Walker,Zurcher,1999

Mentee(Wilson)andMentor(Julian)presentingWilson’sinstrument.

By the end of the curriculum, they learned that people around the world make a living from their creative skills and that they themselves had the potential to be creative.

Chapter EightFour ProfilesTheir Noisemakers

To say that something is designed means it has intentions that go beyond its

function. Otherwise it’s just planning ~ Ayse Birsel


VIII.I Jeison: Drumset of LifeJeison was the first student to get my attention the day I began the workshops at Casa Corazones. His opinions and an-swers to my questions were always quite mature. He told me once that he wanted to go back to school as studying was the only thing that could take him out of poverty. After each class, he always stayed and helped me cleaning the room. As a way to appreciate my support, he gave me a leather bracelet that he made using scrap leather and a crop-a-dile.

His inspiration was life and freedom, and he transformed that into a drumset made with four big plastic lids, bells, beads, leather and wooden sticks. He took the idea of developing a logo very seriously and using Hip-Hop as an inspi-ration he developed and used it through his instrument. When presenting, he showed us how his drumset had four different sounds.

The day before graduation day, he asked me if he could help me taking pictures of the prototypes. I allowed him and taugh him how to use an SLR camera. He enjoyed using a professional camera and took pictures of his own pro-totype. On the last day, he asked me about places where he could study design once he had complted the program at the foundation. We exchanged information and hopefuly sometime soon we will get to touch base about his desire to become a designer.


VIII.II Jerickson: Kool DrumsetAt Centro Albachiara, Jerickson showed a great attitude and leadership. He was well spoken and helped by moni-toring other teengares. Whenever I came to his desk to supervise the development of his piece, we engaged in con-versations about design. He told me he didn’t know what design was, and after this workshop, he feelt he could be a graphic designer.

His main inspiration was the sound and intricate design of a drumset and how it reflected his experiences. He knew building a drumset was a challenge, yet he was determined to do so and built a mini version of the instrument.

Once he finishes at the rehabilitation center, he wants to go back to school and study design at a technical school. You can see an interview of him in the attached CD.

“KoolBateria”reflectingthequalitiesofadrumsetaswellasJerickson’slifeexperiences.

Jerickson receiving feedback and exploring options for his design.


VIII.III Walter: TamaWalter was one of the youngest students at Centro Albachiara, yet he was one of the most mature. After each work-shop, he volunteered to help me put the materials away. Many times he got distracted and instead of working on the noisemaker, he would draw what was on his mind. Nevertheless, he enjoyed the workshop and many times he would sneak into the time slot that was dedicated to the second group (he belonged to group one).

Ideationsketchesandenjoyingwhathelikedthemost,drawing.

Walter’sinspirationdrawingscontrastinglifeinnatureandlifeinthecitythenmovingtowardslovinglife,thinkingbeforereactingandexploringhisinner-self.


VIII.IV Julian: Free SoundJulian was one of the smartest and most talented students in the design workshops. His inspirational sketches caught my attention as they were colourful and misterious at the same time. When explaining them, he told me people had a mask that faded with time and transformed into a different mask. He also made sketches related to animal rights. His level of focus was higher than the other teenagers, and he finished his product a couple of days early. I asked him to help me metor another student, and with his energetic personality, plus complex intelectual thought, he was able to help his peer while inspiring other students. On graduation day, Julian not only presented one of the best prototypes, but he also stood next to his mentee while he presented his finished noisemaker. He hopes to study something creative and through his work help others relieve their negative emotions.

Julian’sinspirationofrespectinganimals’rightsandthedifferentmasksofpersonalityahumanbeingputsonthroughtime.

Our opportunity, as designers, is to learn how to handle the complexity, rather

than shy away from it, and to realize that the big part of design is to make

complicated things simple ~ Tim Parsey

Chapter NineIdeal Conditions


IX.I LongevityBefore delivering this design curriculum, I thought I could work with the teenagers for seven weeks. I quickly learned that was not the case as the circumstances of the emergency center’s program only allowed me to deliver a two-week curriculum at a time. Olga and Adriana (teachers at the foundation), said that if this curriculum was a least a week longer, it could be stronger. However, they accepted that having incoming and outgoing students throughout the pro-cess didn’t allow for it to be any longer.

• They suggested that perhaps the journey could extend through the afternoon. That is offering each group an hour and fifteen minutes in the morning and the same in the afternoon for a total of two and a half hours a day. I thought that was a good idea, yet for a single person leading the workshops, it would be very demand-ing. To explain, during my time working at the foundation, I had to divide my day between delivering the curriculum in the morning and printing image galleries, buying materials and re-structuring the activities in the afternoons. Adding the commuting time, my day started at eight in the morning and finished at eight in the evening. I cannot imagine how I could have balanced having to stay at the centers through the afternoon. The idea of adding afternoon workshops can only be contemplated if two or three designers deliver the cur-riculum.

• In order to deliver a seven-week curriculum, it needs to take place in a stable home where the teenagers live for extended periods of time. The foundation has other houses where the teenagers are taken after spend-ing some time at the emergency centers. At those houses, the teenagers stay and get educated until they turn eighteen years old. My initial idea was to deliver the project at one of these houses, yet Patricia manifested the need for creative activities at the emergency centers, and asked me to work there instead.

IX.II SupportNo matter how well prepared someone is, when dealing with fifteen to twenty troubled teenagers at a time, chaos can quickly imbalance the classroom environment.

• The Fundacion Niños de Los Andes relies solely on private donations and government subsidies; therefore they cannot afford to hire too many education specialists. While delivering the curriculum, I developed frustration, as I did not have enough educators working with me. I felt the need for at least another two educators in order to get the best results out of the curriculum. While at the classroom at Casa Corazones, I was always accompa-nied by an educator. Yet when I moved the project to Centro Albachiara, I was left alone in a classroom with twenty teenagers on various occasions.

• Having another design student helping me deliver the curriculum would have made the experience much more enriching for the students and would have relieved some pressure on me. Within the time frame of each class, I could not help every student, letting them finish the day without strong guidance and probably with questions on whether they were correctly developing their prototype. After this experience, I have acknowl-edged the need for more university mentors volunteering and offering their skills to teach at risk teenagers. The more mentors there are in the classroom, the more opportunities for individual work.

Oppositepage:AdrianaCardona,OlgaLuciaDietes,SandraRodriguez,MarthaIreneGonzales,EdnaGonzales,JanethPovedaand Nancy Rocha. Psychoterapists and teachers at the foundation. Because they had to help over eighty teenagers on a daily basis, their opportunity to fully support me was low.

Because at iDo SF many mentors volunteer, providing individual help to each student is possible.


IX.III El BarrioOpportunities for teenagers start in the neighborhood where they live and play an important role as they move from children to adults.

• Many neighborhoods across the United States have community centers that offer either after school or weekend activities for teenagers. In San Francisco, the Mission Cultural Center for Latino Arts offers multi-cultural youth classes after school and summer programs that provide education and cultural art experiences in a fun and nurturing environment. They believe that art is an integral part of a child’s development. The programs offer art, dance and music classes where teenagers “develop confidence, self expression, a sense of creativity, leadership, team building skills, cultural pride and awareness.”30 The programs rely on families and community members to support the center that helps teenagers become a more health conscious, artistic and well rounded” individuals.31 I believe low-income neighborhoods in Bogota could benefit from creating vol-unteer based community centers that offer creative classes to their teenagers. If my design curriculum could be delivered on a weekly basis at a community center, it could keep teenagers inspired and distracted for a whole semester.

•

IX.IV After school ProgramsBecause of lack of economical resources, public schools in Bogota divide their program into three sections: Morn-

ings for one group of students, afternoons for another and then evenings for adults trying to finish their education. As a person that attended the morning program of a public high school in Bogota, I can testify that my afternoons lacked engaging activities. If any of the teenagers that end up at the emergency centers have access to education, most likely, it is public education; therefore having a big chunk of their days empty of activities. This gives them time to spend on the streets and in company of negative influences.

• According to the UCLA National Center for Research on Evaluation, teenagers attending after school pro-grams “improved their regular school day attendance and reported higher aspirations regarding finish-ing school and going to college.”32 Keeping their mind and body active helped them to balance their lives and inspired them to pursue higher goals. After school participants are twenty percent “less likely to drop out

30 “Youthprogram,”2011)31 Ibid.32 “Afterschoolprograms:Making,”2011

YouthandteenprogramsofferedattheMissionCulturalCenterinSanFrancisco.Img:missionculturalcenter.org,2011.Posters made by teenagers at the Mission Cultural Center.

of school compared to matched non-participants.”33 If teenagers from public high schools in Bogota had ac-cess to an after school program, they would have greater focus and inspiration to finish school and potentially pursue higher education opportunities.

• The Wisconsin Department of Public Instruction found that teenagers engaged in after school activities improved their behavior in class, participated more during lectures, were more attentive and had a higher chance of completing their homework.34

• According to education expert James Heckman “a complement to early education and participation in after school programs reduces initiating drug use among youth by nearly 50 percent and also reduces the likeli-hood of skipping school by half.”35 Many of the teenagers that enter the emergency centers have problems with drug consumption. If their communities offered them after school programs, they probably would have had less opportunity to try and use drugs.

Design education could be used as an after school activity that not only keeps teenagers busy, but also inspires them to explore their creative skills, have fun and develop something that can be meaningful to them.

33 Ibid., 1.34 Ibid., 2.35 InvestinginOurYoungPeople,UniversityofChicago,2006

Many of the teenagers that enter the emergency centers have problems with drug consumption. If their communities offered them after school programs, they probably would have had less opportunity to try and use drugs.

Chapter TenConclusion

Design is the creation of an experience ~ Isabel Perdomo


Through design education ... at risk children and teenagers ... may not be able to become the next Steve Jobs, but they can achieve a better future.

Thinking like a designer can transform the way you develop

products, services, processes - and even

strategy.

Thinkingby Tim Brown

DesignThinking.(2008).Img:http://www.ideo.com/by-ideo/design-thinking-in-harvard-business-review(accessedOctober212011)85.

X.I The ChallengeEven the most successful design education program will not be able to completely change the life of homeless teenag-ers in Colombia. During the last decade Colombia’s economy hasn’t improved for the lower-strata and in some parts of that community, violence and displacement has increased. As long as low-income teenagers do not have access to education, they will have limited opportunities to work and will continue the cycle of violence. In short, to solve a problem of this scale, society and the government need to work closely together. Until forces unite “the number of children forced to endure a desperate and dangerous life in the street will continue to increase.”36

That said, designers can help to reduce the cruel reality of poverty and lack of access to basic tools of survival. Through design education for at risk children and teenagers, we can inspire them to learn and explore, to discover themselves through creative projects and to acknowledge different forms of education and opportunities for making a living. They may not be able to become the next Steve Jobs, but they can achieve a better future.

X.II Design for Social ChangeDesigners have an important role to play. As Emily Campbell explained, designers are “ready to improvise and prototype, brave in the face of disorder and complexity, holistic and people-centered in their approach to defining problems, we have a vital role to play today in making society itself more resourceful.”37 In March 2010, I interviewed Colombian designer Juan Carlos Montana. During the interview, he shared an interesting quote by Victor Papanek ‘There are professions more harmful than industrial design, but only a few of them.’ With the current technological de-velopment moving at the speed-of-light, designers have the opportunity of creating diverse types of gadgets that peo-ple are willing to buy even if they mean generating more e-waste. By unconsciously designing disposable products we could become dangerous to a world that is in need of more socially and environmentally conscious designs. Design is a powerful tool and can do more for human kind than simply developing mass produced or extremely expensive products. Designers have the potential of sharing and helping relieve some of the burdens created by an unjust soci-ety. Companies such as IDEO are now focusing not only on developing competitive high-quality products, but also on creating social change with projects that benefit in-need communities. In addition, schools such as the School of Visual Arts in New York, now offer workshops that call their students to explore the potential of becoming a force for social change in the design world. iDo was born out of that force and iDo Colombia took this momentum to Bogota.

X.III Design ThinkingDesign Thinking is a methodology that consists of applying the problem-solving protocol of the design process

in other business or professions. It argues that “design in its most effective form is a process, an action, a verb not a noun, a protocol for solving problems and discovering new opportunities.”38 iDo Colombia believes in Design Think-ing and brought a dimension of it to homeless teenagers in Bogota in order to apply this methodology in their every-day lives.

36 ColombianJournal,200037 Campbell,200938 Brown,2008

iDo Colombia believes in Design Thinking and brought a dimension of it to homeless teenagers in Bogotá.


ents are empowered locally and connected globally to create a just and sustainable world. It takes a holistic approach to creating change. With nearly twenty-five years of working for international human rights, they have realized that in order to advance social, environmental and economic justice, the global economy must change from profit-centered to people-centered, from currency to community.

• The Hub Bay Area: Is a place for purpose-driven people to connect and build solutions for a better world. Members work at The Hub, attend and produce events, run their own bootcamps, access funding and me tor-ship, source clients and co-conspirators, find social networks, build campaigns, launch companies, prototype and test products... members create what they want at The Hub. It is their space and their community to build upon.

Amanda Cadavid is a woman that I lent money to through Kiva in order for her to invest in candies, snacks and general merchan-disethatwillhelpherexpandherbusinessinMedellin,Colombia.AkhmadAbbasovisfromSabirabad,Azerbaijanandislookingfor a loan through Kiva in order to increse his farming business.

iDo Colombia could continue either by becoming an annual scholarship offered to design graduate students or a non-profit organization.

The key elements of Design Thinking delivered at Fundacion Niños de Los Andes were:

1. Define the problem: Whether it was a matter of self-identification or the need to express feelings, the teenagers were encouraged to look inside themselves, something that had previously been denied to them. As a designer, I also needed to identify their problems and observe their reactions to my ideas. “In design thinking observation takes center stage. Observation can discern what people really do as opposed to what you are told that they do.”39 I let them guide me through the curriculum by believing only what I could see and experience, right there in the classroom.

2. Create and consider many options: “Even the most talented teams and businesses sometimes fall into the trap of solving a problem the same way every time. Especially when successful results are produced and time is short. Design thinking requires that no matter how obvious the solution may seem, many solutions be cre-ated for consideration.” 40 When delivering the curriculum, the teenagers were encouraged to explore differ-ent ways of expressing their identities, while keeping a focus on the final outcome needed to be a noisemaker. This showed them that despite the fact that a single solution is needed, exploration is important, as it helps to make the final solution more successful.

3. Refine selected directions: Design thinking creates environments of growth and experimentation, where making mistakes is part of the process. During the program, the teenagers learnt that by experimenting they could get closer to developing a more successful outcome, and they were encouraged to learn from those ex-perimentations. By encouraging them to see mistakes under a positive light and as part of the bigger picture, I was aiming to provide a way of thinking that could be applied to their everyday lives.

4. Pick the winner, execute: Once the teenagers felt their pieces were ready for production, they were given a green light to prototype. For the teenagers, seeing what they were able to create increased their self-esteem. Likewise in their everyday life, and after much trial and error, they could recognize the solutions to their challenges and proceed with them.

X.IV Non-Profit Community WorkiDo Colombia could continue either by becoming an annual scholarship offered to design graduate students or a non-profit organization. The world has become more conscious of the need to preserve and sustain people from every social and cultural background; therefore great non-profit organizations have been established during the last decade. iDo Colombia could learn from these organizations and hopefully one day become one of them.

• Kiva: Its mission is to connect people through lending to alleviate poverty. Leveraging the Internet and a worldwide network of microfinance institutions, Kiva lets individuals lend as little as $25 to help create op-portunity around the world.

• Kickstarter: Is a funding platform focused on a broad spectrum of creative projects in categories such as design, music, art, film, science and literature. They believe that a good idea, communicated well, can spread fast and wide and a large group of people can be a tremendous source of money and encouragement. Kick-starter is powered by a unique all-or-nothing funding method where projects must be fully-funded or no money changes hands.

• Global Exchange: An education and action resource center that works to ensure its members and constitu-39 Ibid.40 Brown,2008

It takes a holistic approach to create change.


X.V Personal noteAlthough this project didn’t develop as I had planned and I had to make many changes to accomodate the environment and con-ditions, I believe it was successful. Being able to provide a design experience to homeless teenagers in my hometown has been an empowering achievement. The students responded well to my intention and helped me make this happen. I hope I can continue working towards keeping this project alive either by establishing a yearly scholarship that sends a graduate student overseas to deliver a similar curriculum, or by creating weekly design workshops for teenagers at the Mission Community Center in San Fran-cisco. Rest assured that the lessons learned through iDo Colombia will be of use for future design education projects. Design has proved that it can be used as a tool for social and environmental change, and designers must take advantage of that. “Providing a fair start for children means taking a long-term viewing and investing in human potential, and experience. This has shown to be a productive venture.”41 Designing the right type of educational environment for teenagers is investing in human capital. This is not only important in Colombia, but also all over the world.

41 Bartlett,Sheridan.“Children’sexperienceofthephysicalenvironmentinpoorurbansettlementsandtheimplicationsforpolicy,planningandpractice.”EnvironmentandUrbanization11no.2(1999):68

To donate or help create ideas to support iDo Colombia, please e-mail Isabel at [email protected].


There are professions more harmful than industrial design, but only a few of them

~ Victor Papanek

Appendix ACurriculum Schedules


A.I Seven-Week Curriculum

Week 1T Jun 14 Say hello and give

namesIntroduce to each other,introduce Design

What is Design?where do we seedesign?

Where do we seedesign in oureveryday lifes

Group Brainstorm on designand its forms

Syllabus,Projector,Computer, Butcher Paper,markers

Create awarenesstowards Design

W Jun 15 Great designers anddesigns that havechanged the way we live.What process have theyfollowed.

Images of lifechanging designs andDiagram of designprocess

moments in lifewhen you haveapplied a similarprocess to solve aproblem

Group Brainstorm on designprocess applications in life.

Projector, computer, butcherpaper, markers.

Connect Design tolife experiences

R Jun 16 Sketch anelement (on thetable)

Basic elements of design:line, point, shapes andcolor theory.

Show basic designsketches

why is sketchingimportant inDesign

Open discussion (in teams)about sketches in design

Projector, computer, butcherpaper, markers.Sketchbooks, pencils,erasers.

Understand thepower of sketches

F Jun 15 Sketch anelement (on thetable)

Introduce musicalinstrument project. Showmaterials to be used.

Show prototypes ofmusical instrumentsmade by me andmade by native peoplearound the world

How is designrelated to musicalinstruments?

Open discussion (in teams)design influences in musicalinstruments

Projector, computer, butcherpaper, markers. Musicalinstrument materials.Sketchbooks, pencils,erasers.

Start creativeprocess

Week 2T Jun 21 Sketch an

element (on thetable)

Re-introduce musicalinstrument project. Showmaterials to be used

Invite musician to playvarious instruments

What are thedifferent types ofinstruments andhow can we makethem?

Start sketching ideas Sketchbooks, pencils,erasers, color pencils.Musical instrument materials.

Start creating ideaswith a clear focus

W Jun 22 Sketch anelement (on thetable)

Different ways to treatmaterials, what they cando, what we (socialworkers and I) can do forthem

Show different ways totreat materials. Showhow to use the Crop-A-Dile

Continue sketching musicalinstruments, and practiceusing the crop-a-dile onmaterials to discoverlimitations.

Sketchbooks, pencils,erasers, color pencils.Musical instrument materials,, crop-a-dile, scissors,

Get acquainted withthe Crop-A-Dile

R Jun 23 Quick sketchrepresenting theway you feeltoday.

Geometry in design How geometry affectsdesign

Start thinking ofhow geometry canbe applied to yourdesign

Continue sketching musicalinstruments.

Sketchbooks, pencils,erasers, color pencils.Musical instrument materials.

Refine creativethoughts in a moreprofessionalmanner

F Jun 24 Transfer the daybefore sketch intogeometric shapes

Composition in design How composition ispart of every design

Present sketches of musicalinstruments (in teams)

Projector, computer,sketchbooks, pencils.

Have at least onerefined sketch of amusical instrumentidea

Week 3T Jun 28 Play opening

holes with Crop-A-Dile, cuttingpaper with plasticscissors, puttingbeads together,putting bellstogether and/orpainting onplastic.

How materials can betransformed

Show them howdesigners (includingmyself) have alteredmaterials

Start transferring refinedmusical instrument sketchesinto the materials

Crop-a-diles, metal circles,post-it-paper, plasticscissors, beads, threat, bells,paints, brushes, plastic lids,leather, textile scissors.

Continue theprocess of designthis time fromsketch to prototype

W Jun 29 jump right awayinto yourprototypes

Work Day Present once again,how to alter thematerials we have inhouse

Work on Prototypes Crop-a-diles, metal circles,post-it-paper, plasticscissors, beads, threat, bells,paints, brushes, plastic lids,leather, textile scissors.

Development

Do Now Lecture Demo Discussion Activity Materials Needed Deliverables

W Jun 29 jump right awayinto yourprototypes

Work Day Present once again,how to alter thematerials we have inhouse

Work on Prototypes Crop-a-diles, metal circles,post-it-paper, plasticscissors, beads, threat, bells,paints, brushes, plastic lids,leather, textile scissors.

Development

R Jun 30 jump right awayinto yourprototypes

Work Day Work Day Work on Prototypes Crop-a-diles, metal circles,post-it-paper, plasticscissors, beads, threat, bells,paints, brushes, plastic lids,leather, textile scissors.

Development

F Jul 1 Gather togetherwhat you have sofar from yourprototype and getready to presentin your table

How designers presenttheir ideas - PechaKucha?

Small video of PechaKucha in Spanish

Present prototypes to yourtable and receive feedback

Projector, computer,speakers

Break the glass andlearn how to be apublic speaker

Week 4T Jul 5 1. Explain the

weeks goal:Finalization ofprototypes.

How designers workunder constrains anddeadlines. How critiquesand deadlines help uskeep things in focus andget them done in aproper manner.

Personal example ofhow I used feedbackand deadlines tofinalize a project:Albero Lamp.

How deadlines andfeedback haveshaped youractivities?

Use feedback given by peers(on Friday) and apply it toyour designs.

Crop-a-diles, metal circles,post-it-paper, plasticscissors, beads, threat, bells,paints, brushes, plastic lids,leather, textile scissors.Projector, computer, sketchpads, pens and pencils.

Learn how to usefeedback in apositive way

W Jul 6 jump right awayinto yourprototypes


Development

R Jul 7 jump right awayinto yourprototypes


Development

F Jul 8 Final day tofinalizeprototypes.


Finalize progress

Week 5T Jul 12 Reflect on how

you felt whenpresenting yourprototype.

Introduction to Logodesign and other forms ofgraphic design

How companies carrytheir message via theirlogos. How productsare representedthrough their logos.

How have youbeen affected bylogos?

Start thinking of a name thatrepresents your instrument.Eventually this name will bereflected through your logo.

Projector, computer, sketchpads, pens, pencils,markers.

Learn aboutGraphic Design andits importance

W Jul 13 Think about yourfavorite logos.

Logo Desgn Demo on how todesign a logo

Logo design Projector, computer, sketchpads, pens, pencils,markers.

Start graphiccreative process

R Jul 14 Work Day Work Day Work on Logos Sketch pads, pens, pencils,markers.

Refine logo design

F Jul 15 Think of howlogos areattached toproducts and howyou react to that.

How Logos are attachedto products

Sketch how you would attachyour logo to your instrumentand present to your table forpeer feedback.

Projector, computer. Learn theimportance ofpresenting aproduct

Week 6



Week 6

T Jul 19 Think of thefeedback youreceived fromyour peers onyour logo.

Work Day: Applychanges to your logobased on your peersfeedback. AttachLogo.

Work Day Crop-a-diles, metal circles,post-it-paper, plasticscissors, beads, threat, bells,paints, brushes, plastic lids,leather, textile scissors,sketch pads, color pencils,markers, pencils, erasers.

Once again learnhow to usefeedback in apositive way.

W Jul 20 Work right awayon Prototype andLogo

Finalize Logo andPrototype

Work Day Work Day Crop-a-diles, metal circles,post-it-paper, plasticscissors, beads, threat, bells,paints, brushes, plastic lids,leather, textile scissors,sketch pads, color pencils,markers, pencils, erasers.

Finalization ofwhole process

R Jul 21 Think of how youwould like topresent yourselfto others

How business cardsrepresent people.

Business card design. What type ofinformation wouldyou add to yourown businesscard? What wouldyou like to be?

Jot down what would you liketo be and how would yourepresent it through abusiness card.

Sketch pads, color pencils,markers, pencils, erasers.

Learn theimportance ofknowing how topresent oneself

F Jul 22 Narrow to onethink you wouldlike to be.

How certain trades arereflected in different waythrough business cards.

Start designing your businesscard relating it to what youwould like to be and reflect.


Personalpresentation viaBusiness cards

Week 7M Jul 25 Introduce last

week of work andweeks goals.Introduce finalcritiques.

Present how designersprepare for final critiquesand why are theyimportant

Keep info in theback burner andfinish eitherbusiness card,logo or prototype.

Work Day Crop-a-diles, metal circles,post-it-paper, plasticscissors, beads, threat, bells,paints, brushes, plastic lids,leather, textile scissors,sketch pads, color pencils,markers, pencils, erasers.

Understand theimportance of finalpresnetations

T Jul 26 Jump straight intowork

Work Day Work Day Crop-a-diles, metal circles,post-it-paper, plasticscissors, beads, threat, bells,paints, brushes, plastic lids,leather, textile scissors,sketch pads, color pencils,markers, pencils, erasers.

Just have fun

W Jul 27 Think about howyou have enjoyedor not this designworkshop.

What have youliked, learned ordisliked about thisworkshop.

Prepare for final presentation,what will you say aboutyourself, your instrument,your logo and your businesscard. Jot it down.


Reflect on what hadbeen learned

Th Jul 28 Presentation Day Presentation Day Present


A.II Three-Week Curriculum

Week 1Tuesday June 14 Introduce each other Introduce what I do and

what design isVisual Gallery on Design What is design? Where

do we see it? how doesit influence our lives?

Think in group on thedifferent forms of expressionthrough design. Make a roadmap.

Stickers, Visual Gallery,Push Pins, Presentationboard, markers, colors, tape.

Think about howdesign influencesyour life

Find a personalconnection with design

Wednesday June15

Express what youthought in terms of theconnection betweendesign and your life

How designers andartists express their life,inspirations, beliefs, etchthrough their work.

Visual Gallery and maproad on how I haveexpressed my personalitythrough my designs

Think about uniquetraits of your ownpersonality

Start sketching how youinterpret your own personalityand what inspires you - evenbetter if its in a abstract way.

Visual gallery, tape, markers,colors, sketch pads, pencils,erasers, sharpeners

Continue thinkingon how you couldexpress yourpersonality througha drawing

Thursday June 16 Make a quick sketch ofyour personality

Introduce the project:Noisemaker. Introducedifferent materials andthe Crop-A-Dile. Showprototypes.

Show how I manifestedmy personality through thedesign of my noisemakers.Show the process Ifollowed to arrive to thefinal design. Show visualgallery of instrumentsaround the world.

Why is it important tomake sketches beforejumping intoprototyping.

Sketch how you would makeyour instrument and how itwould represent yourpersonality. Show how youare connecting the elementsof your instrument and whichmaterials your need.


Friday June 17 Open How to transfer an ideafrom sketch to prototypeand why is it important tomake various prototypesbefore arriving a finalproduct

Slowly show how to thecrop-a-dile and othermaterials

How can yourinstrument manifestyour personality?

Continue and finalizeinstrument sketches. If readystart playing on how to usethe crop-a-dile

Tape, markers, colors,sketch pads, pencils,erasers, sharpeners, colorpencils, prototypes, plasticlids, sticky back paper, crop-a-dile, leather

Continue thinkingabout how yournoisemaker couldreflect yourpersonality.

Week 2Tuesday June 21 Make a quick sketch that

reflects your weekendexperience

Re-introduce the project Slowly show how to usethe crop a dile and how touse other materials

Go back to last week'ssketches and transferthem to your prototype(noise maker)

Start exploring materials andthe making of prototype # 1

Tape, markers, colors,sketch pads, pencils,erasers, sharpeners, colorpencils, prototypes, plasticlids, sticky back paper, crop-a-dile, leather, scissors(controlled), balsa wood, x-acto knife (controlled), glue

Wednesday June22

Continue exploringmaterials and ideas

how do designers know iftheir designs are good orbad?

How do designers presenttheir work and getfeedback from oneanother

How do you transforman observation into apositive idea?

Continue exploring materialsand developing prototype # 1


Think about thepositive effect ofobservations andcritiques

Thursday June 23 Continue exploringmaterials and ideas

Continue development ofPrototype # 1


Think about whatyou need to do tofinalize yourprototype # 1

Friday June 24 Finalize prototype # 1 While kids finalize prototypes,provide feedback oneanother on hose to better offthe piece.


Think about whatwould you like to dowith yournoisemaker. Give itto somebody? keepit? use it? gainownership of whatyou are creating

Finalize Prototype # 1

Week 3

Do Now Lecture Demo Discussion Activity Materials Needed Homework Deliverables


Tuesday June 28 Analyze visual gallery ofprototype # 1 andprovide feedback to eachother to apply on �nalprototype

Why is it important toknow what to applyfrom other's feedback?

Jot down what you willchange in your prototype andstart working on �nalprototype.

Sketch pads, Tape, markers,colors, sketch pads, pencils,erasers, sharpeners, colorpencils, prototypes, plasticlids, sticky back paper, crop-a-dile, leather, scissors(controlled), balsa wood, x-acto knife (controlled), glue,glue gun.

Wednesday June29

Continue working on�nal prototype

Continue working on FinalPrototype.


Thursday June 30 Last day to �nalizeprototypes

The importance of logos Visual gallery of logodesign

Last day to �nalizeprototypes and if time allowsmake a small logo fornoisemaker


Write in a piece ofpaper what to sayduring the �nalceremony inregards toinstrument and howit represents yourpersonality. Keep itunder the timeframe of 2 minutes.

Friday July 1 Graduation Ceremony Each kid will talk about hisinstrument and how itrepresents his personality

Cameras, tripod, iDo board,tape and push pins. Whitepaper to cover tables whereprototypes will be on display.


A.III Two-Week Curriculum

Week 1Tuesday July 8 Introduce each other Introduce what I do and

what design isVisual Gallery on Design What is design? Where

do we see it? how doesit in�uence our lives?

Think in group on thedi�erent forms of expressionthrough design. Make a roadmap.

Stickers, Visual Gallery,Push Pins, Presentationboard, markers, colors, tape.

Think about howdesign in�uencesyour life

Find a personalconnection with design

Wednesday July 9 Express what youthought in terms of theconnection betweendesign and your life

How designers andartists express their life,inspirations, beliefs, etchthrough their work.

Visual Gallery and maproad on how I and otherdesigners/artists haveexpressed my personalitythrough their work

Think about uniquetraits of your ownpersonality

Start sketching how youinterpret your own personalityand what inspires you - evenbetter if its in a abstract way.


Continue thinkingon how you couldexpress yourpersonality througha drawing

Thursday July 10 Make a quick sketch ofyour personality

Introduce the project:Noisemaker. Introducedi�erent materials andthe Crop-A-Dile. Showprototypes.

Show how I manifestedmy personality through thedesign of my noisemakers.Show the process Ifollowed to arrive to the�nal design. Show visualgallery of instrumentsaround the world.

Why is it important tomake sketches beforejumping intoprototyping.

Sketch how you would makeyour instrument and how itwould represent yourpersonality. Show how youare connecting the elementsof your instrument and whichmaterials your need.


Friday July 11 Open How to transfer an ideafrom sketch to prototypeand why is it important tomake various prototypesbefore arriving a �nalproduct

Slowly show how to thecrop-a-dile and othermaterials

How can yourinstrument manifestyour personality?

Continue and �nalizeinstrument sketches. If readystart playing on how to usethe crop-a-dile and startprototyping.

Tape, markers, colors,sketch pads, pencils,erasers, sharpeners, colorpencils, prototypes, plasticlids, sticky back paper, crop-a-dile, leather

Continue thinkingabout how yournoisemaker couldre�ect yourpersonality.

Week 2Tuesday July 15 Make a quick sketch that

re�ects your weekendexperience

Re-introduce the project Show once again how touse the crop a dile andhow to use othermaterials.

start working onprototype (noise maker)based on last week'ssketches and announcedeadlines anddeliverables.

Start/continue exploringmaterials and the making ofprototype.


Wednesday July16

Continue exploringmaterials and ideas

Quick talk about hownoisemakers representeach student'spersonality.

Visual gallery:Logos/graphic design.How brands representtheir ideals through theirlogos.

How could you transferthe meaning/inspirationof your noisemaker intoa logo?

Continue developing /re�ningprototype and/or startworking on noisemaker'slogo.


Think about thepositive e�ect ofobservations andcritiques

Thursday June 17 Continue exploringmaterials and ideas

How do designers know iftheir work is good? Howto accept and appreciatefeedback?

Mentally prepare for�nal presentation.Think about how willyou present yournoisemaker.

Continue development ofPrototype (if behind) and�nish logo + small writtenpice to read when presentingnoisemaker.


Think about whatyou will talk aboutwhen you presentyour prototype.

Friday June 18 Finalize prototype # 1 Finalpresentation/graduation

Each student presents hisnoisemaker and talks aboutits main inspiration.

Final prototypes, white paperto cover tables and walls,push pins, video camera,digital camera, completioncerti�cates.

If you wish giveyour instrument asa gift to someoneyou love.



Design is in everything we make, but it’s also between those things. It’s a mix of craft, science,

storytelling, propaganda, and philosophy ~ Erik Adigard

Appendix BVocabulary


Bogotá: The capital city of Colombia. It is the most populous city in the country, with an estimated 7,304,384 in-habitants as of 2009. With its many universities and libraries, Bogotá has become known as “The Athens of South America”.

Cali: Is a city in western Colombia and the capital of the Valle del Cauca Department. With a population of 2,732,158 Cali is the third largest city in the country.

Caza Corazones: An emergency center for homeless teenagers established by the Children of the Andes Foundation.

Citizenship: The state of being a citizen of a particular social, political, national, or human resource community.

Creative capital: Investigating alternative models to support innovation in the arts.

Critical thinking: the intellectually disciplined process of actively and skillfully conceptualizing, applying, analyzing, synthesizing, and/or evaluating information gathered from, or generated by, observation, experience, reflection, rea-soning, or communication, as a guide to belief and action.

Culture: The quality in a person or society that arises from a concern for what is regarded as excellent in arts, letters, manners, scholarly pursuits, etc.

Curriculum: A set of courses constituting an area of specialization.

Design Education: Is the teaching of theory and application of design in terms of products, services and environ-ments. It encompasses various disciplines of design, such as industrial, graphic, interior, fashion, information, web, user interface, packaging, and sustainable, and universal design.

Ergonomics: The study of designing equipment and devices that fit the human body, its movements, and its cognitive abilities.

Fundacion Niños de Los Andes: A non-profit organization that protects and rehabilitates boy and girls that live on the streets, are in a state of vulnerability and whose fundamental rights have been violated.

Heritage: Something that is passed down from preceding generations; a tradition.

Human capital: The abilities and skills of any individual, especially those acquired through investment in education and training, that enhance potential income earning.

iDo: Industrial Design Outreach. An organization, founded by SF State students and Professor Matin Linder, that creates design curricula for high-school students in the San Francisco Bay Area.

Inclusive Design: Neither a new genre of design, nor a separate specialism. It is a general approach to designing in which designers ensure that their products and services address the needs of the widest possible audience, irrespec-tive of age or ability. Inequality: Lack of equality; “the growing inequality between rich and poor”

Interdisciplinary: Drawing from or characterized by participation of two or more fields of study; “interdisciplinary studies”; “an interdisciplinary conference”

Medellin: Is the second largest city in Colombia. It has a population of 2.4 million.

Narcotraffic: Traffic in illegal drugs.

Pablo Escobar: Was a Colombian drug lord. Often referred to as the “World’s Greatest Outlaw”, he was perhaps the most elusive cocaine trafficker ever to have lived.

Prototype: an early sample or model built to test a concept or process or to act as a thing to be replicated or learned from.

Prototyping: The rapid creation of prototypes of a new product for demonstration and research purposes.

Slum: a district of a city marked by poverty and inferior living conditions

Social Well-Being: A state of affairs where the basic needs of the populace are met.

Studio H: A public high school “design/build” curriculum that sparks rural community development through real-world, built projects.

Teenager: A person between the ages of 13 and 19 inclusive.

Universal Design: The design of products and environments to be useable by all people, to the greatest extent pos-sible, without the need for adaptation or specialized design

Violence: The expression of physical or verbal force against self or other, compelling action against one’s will on pain of being hurt


When I die, I hope to go to Heaven, whatever the Hell that is ~ Ayn Rand

Appendix CWorks Cited


About experimental education . (2011). Retrieved from http://www.fusionassociates.com/site/view/298 (accessed October 11 2010).

Afterschool programs: Making a difference in america’s communities by improving academic achievement, keeping kids safe and helping working families. (2011, May). Retreived from hhp://www/afterschoolalliance.org/ documents/factsResearch/2011_Outcomes.pdf

Almquist, P., Brekke, B., Croymans, S., Fruechte, K., Matlack, M., McAndrews, B., Morreim, P., Ogg-Graybill, J., Piehl, B., Walker, J., & Zurcher, Tom. (1999). Keys to quality youth development. Informally published manuscript, Child and Youth Development, University of Minnesota Extension Service, St. Paul, Minnesota.

Aptekar, Lewis. “The changing developmental dynamics of children in particularly difficult circumstances: some examples of street and war traumatized children.” The New York Academy of Sciences Workshop on Childhood and Adolescence in Cross-Cultural Perspective (2000)

Bartlett, Sheridan. “Children’s experience of the physical environment in poor urban settlements and the implications for policy, planning and practice.” Environment and Urbanization 11 no. 2 (1999): 63-74.

Bierman, K.L., Smoot, D.L., Aumiller, K. (1993). Characteristics of aggressive-rejected, aggressive (nonrejected) and rejected (nonaggressive) boys. Child Dev., 64, 139-51.

Brown, T. (2008) Design thinking. Harvard Business Review, (June 2008), 84-92.

Bullock, J.R. Children without friends: Who are they and how can teachers help? Child Educ., (Winter 1992): 92-7.

Campbell, E. (2009, July). You know more than you think you do: design as resourcefulness & self-reliance. Retrieved from http://www.thersa.org/__data/assets/pdf_file/0006/215457/RSA_designandsociety_pamphlet.pdf

Chaus, E. (2006). Buscando pistas para prevenir la violencia urbana en Colombia: conflictos y agresion entre niños(as) y adolescents en bogota. Revista de Estudios Sociales. Universidad de Los Andes, 12, 43-53.

Coatsworth, John H. “Colombia Beyond Armed Actors: A Look at Civil Society” ReVista Harvard Review of Latin America (2003), http://www.drclas.harvard.edu/revista/articles/view/232. (accessed October 8, 2010).

DANE, Secretaría Técnica. (2010).Declaración comité de expertos mesep / misión para el empalme de las series de empleo, pobreza y desigualdad. Retrieved from http://www.dane.gov.co/files/noticias/Declaracion_ MESEP_2009.pdf

Iregui, A, Melo, L, & Ramos, J. (2006). La educacion en colombia: analisis del marco normativo y de los indicadores sectorales”. Revista de Economia del Rosario, 9(2) (Diciembre), 175-238.

iDO Industrial Design Outreach. 2009.http://industrialdesignoutreach.org/mission.html (accessed October 11 2010).

iDO Industrial Design Outreach. (2011). Miranda Lux Proposal.

Kernberg, P.F., Clarkin, A.J., Greenblatt, E., Cohen, T. (1992). The Cornell interview of peers and friends: development and validation. J. A. Acad. Child Adolesc. Psychiatry, 31: 483-490.

Kanth, A., Prayas Juvenile Aid Centre Society Bruce Harris. & Casa Alianza. (2004, september). Street children and homelessness. Retrieved from http://www.cyc-net.org/cyc-online/cycol-0904-Homelessness.html

Kolb, D. A., Boyatzis, R. E., & Mainemelis, C. (1999). Experiential learning theory: Previous research and new directions. Informally published manuscript, Department of Organizational Behavior, Case Western Reserve University, Cleveland, Ohio., Available from Google Scholar.Kolb, Boyatzis & Mainemelis, 1999)

Lueder, Rani. Ergonomics for Children: Designing Products and Places for Toddlers to Teens. New York: Taylor & Francis, 2007.

M. Tompkins, Cynthia. Sternberg, Kristen. Teen Life in Latin America and the Caribbean. Santa Barbara: Greenwood Press, 2004.

McEwan, Patrick. “The Effectiveness of Multigrade Schools in Colombia.” Int. J. Educational Development 18 no. 6 (1998): 435-452.

Moser, Cathy. Urban poor perceptions of violence and exclusion in Colombia. Washington: The International Bank of Reconstruction and Remodeling, 2000.

National Society for Experiential Education. (2011). Mission and history. Retrieved from http://www.nsee.org/ about_us.htm (accessed October 21, 2010).

Neisser, Elric. The School Achievement of Minority Children: New Perspectives. Mahwah: Lawrence Erlbaum Associates, 1986.

Newcomb, A.F., Bukowsky, W.M., Pattee, L. (1993). Children’s peer relations: a meta-analytic review of popular, rejected, neglected, controversial and average sociometric status. Psychol. Bull., 113: 99-128.

Ollendick, T.H., Weist, M.D., Borden, M.C., Greene, W. (1992). Sociometric status and academic behavioral and psychological adjustment: a five-year longitudinal study. J. Consult. Clin. Psychol., 60: 80-7.

Pinzon-Rondon, Angela M. “Children working in the streets of Colombian cities: Different pathways to the street lead to different populations.” Children and Youth Services Review (2008).

120 iDo Colombia

Perfil de ingreso. (2010). Retrieved from http://www.ninandes.org/htmls/nuestralabor_perfil.htm (accessed October 14, 2011)

Programa 2010. (2010). Fundacion Niños de Los Andes 2010.

Project H. 2010 http://projecthdesign.org/projects.html (accessed November 10, 2010).

Rhodes, J. (2001). Youth mentoring in perspective. Retrieved from http://www.infed.org/learningmentors/youth_ mentoring_in_perspective.htm

Rohde, L. A., Ferreira, M. H., Zomer, A., Foster, L., & Zimmermann, H. (1998). The impact of living on the streets on latency children’s friendships. Journal of Public Health of the University of Sao Paulo, 32 (3), 273-280. (Rohde, Ferreira, Zome, Foster & Zimmermann, 1998)

Signal Hill Group, Inc. (2004, February 26). Experiential learning in education.

The Two Escobars, Film, Zimbalist, Jeff and Zimbalist, Michael. 2010. Colombia, USA: ESPN.

Thomas, J. W. (2000, March). A review of project based learning. Retrieved from http://www.bie.org/research/study/ review_of_project_based_learning_2000 (Thomas, 2000)

Trinity Teen Solutions. Troubled. (2011). Teen girl’s journey in treatment. (2011). Retrieved from http://www.trinity teensolutions.com/girls_journey.asp (accessed October 13, 2011)

Troussier, B. “Comparative study of two different kinds of school furniture among children.” Ergonomics 42 no. 3 (1999): 516-526.

Velo City. (2011). Bikesplorations . Retrieved from http://velocity-rides.org/

Wiggis, McToghe, G, J. (1998). Understanding by design. Alexandria, VA: Association for Supervision and Curriculum Development.

Youth program [Web log message]. (2011). Retrieved from http://www.missionculturalcenter.org/MCCLA_New/youth.html

80 inspiring quotes about design. (n.d.). Retrieved from http://designwashere.com/80-inspiring-quotes-about-design/

Documents

iDo Colombia - · PDF fileCorazones (Hearts Home) and Centro Albachiara (Center Bright Sunrise) from the Children of the Andes Founda - tion (Fundación Niños de los Andes) in Bogotá,