My Brunswick, Our Brunswick

I approached the design of this book with meticulous care to preserve the original data (collected by RMIT PlaceLab) and its sentiments as much as possible, trying to avoid over-designing (and possibly undermining) the words of Brunswick locals. A significant challenge emerged in organising these rich stories that were handed over as raw qualitative data, into a coherent book structure that could authentically represent them. In response, the book is divided into three sections that capture the multifaceted voices (Voice), atmospheres (Vibes), and aspirations (Visions) of the Brunswick community.

The book is not meant to be read linearly; readers can open it to any section and dive in, much like exploring Brunswick itself. While the book follows overarching themes, it is interspersed with unique quirks that reflect the community’s distinct personality. In these sections, the book rotates to a horizontal format, showcasing humorous anecdotes and love notes to Brunswick and its subcultures collected during the research surveys. The book also showcases imagery and typography from Brunswick creatives. It was crucial to me that every element—text, type, and image—was crafted by Brunswick locals, for Brunswick locals. You will notice a number of collages in the book that were produced in a workshop I hosted for locals to create their own imagery (this was in partnership with RMIT PlaceLab, Merribek City Council and collage studio, That Paper Joint).

Expertly printed by E-Plot in Melbourne, the finished book exceeded expectations, both in design and functionality. It serves as a valuable tool for Brunswick community stakeholders and offers locals a lasting snapshot of a moment in time to look back on for years to come.

This project demonstrates the fundamental design criteria by prioritising functionality, accessibility, aesthetics, and quality in its approach to book design. It has been designed thoughtfully for both Brunswick locals and research stakeholders to deepen understanding of community values amid significant change and development. Designed to be accessible, engaging and user-friendly, the book allows readers to explore any section.

Addressing the extractive nature of social research, where information is gathered without ongoing engagement, this book reflects PlaceLab’s and my commitment to creating meaningful artefacts that serve as tools for communities and sustain the conversation. We envision this book circulating in local cafes and bars, showcasing community voices and providing a research outcome that benefits not only the research process but also the people who contributed their time and perspectives. It also serves as a valuable resource for local stakeholders and government, providing insights into community perspectives. By authentically reflecting the community and amplifying their voices, the project sets a new benchmark for design excellence in Victoria and highlights the value of investing in professional design that engages with communities.

It’s common for research labs, such as RMIT PlaceLab, to enter communities with good intentions but end up adopting an extractive approach that results in minimal benefits for participants who share their time and stories. This dynamic was evident in my early experiences as a designer and researcher. There is a clear need for designers (specifically communication designers) to adopt methods that engage communities meaningfully and generate outputs that extend beyond merely serving stakeholder needs.

The ‘My Brunswick, Our Brunswick’ book addresses this challenge by creating a meaningful representation of community perspectives. It fosters understanding, empathy, and dialogue among stakeholders, including local government and community members, which can lead to more informed decision-making and actions that positively impact society, the environment, and the local economy. The collaborative approach taken in producing the book, involving designers, researchers, and the local community, reflects a commitment to building relationships and trust, enhancing its potential impact.

The design of this book primarily emphasises its intangible qualities, embedded meaning, and value, showcasing that existing design methods, such as publication design, can play a role in promoting community voices and driving change. Although it may not introduce ”world-first” features, the design’s focus on inclusivity, community engagement, and meaningful representation sets it apart in the realm of publication design. This design raises important questions about how we might authentically represent a community through design and underscores the potential for designers to contribute meaningfully to social discourse and impact. For social, environmental, and ecological sustainability, it’s essential to focus on improvements at the local level. Socially engaged research plays a pivotal role in this effort, and outputs like this will become increasingly relevant in addressing these interconnected challenges.

The project has potential for positive impact from social, environmental, and commercial perspectives. Socially, the book fosters deeper understanding and empathy among community members and stakeholders, influencing informed decision-making that benefits society and the local economy. I believe that designing for communities, and amplifying their voices is a crucial steps toward advancing circular economies and regenerative futures. Effective community engagement is essential for sustainability; without it, progress stalls. Communication design plays a key role in enhancing local engagement and driving meaningful change.

The brief for this book aimed to create an artefact that not only captures the depth of the research project but also translates it into something valuable for the public and stakeholders. An additional goal was to explore ways to represent Brunswick’s unique character through design, giving voice to the community amidst ongoing changes. Feedback from the community has been positive, with many feeling that their experiences or those of people like them are reflected in the book.

The book’s loose yet mindful structure has provided local government with clearer insights into the community’s composition and concerns. In achieving its objectives both as a message and an object, the book showcases design impact through attentive listening, thoughtful creation, and successful delivery on the brief. It has been freely shared at local hotspots in Brunswick, setting the stage for its ongoing impact and influencing future research projects aimed at developing meaningful outputs for their communities. This project contributes to Victoria’s design and creative culture by setting a new benchmark for how design can authentically engage with and represent communities.

I believe communication design plays a vital role in circular design and sustainability, though perhaps not in the conventional sense of materiality and manufacturing. Its impact is deeply social, focusing on how we can implement effective systems within communities to support circular economies and sustainability.

This book seeks to lay the groundwork for this in Brunswick by addressing the question: How can we facilitate better communication between community members and local government/stakeholders during periods of significant change? By exploring answers to such questions, we can enhance our approach to sustainable design and improve our chances of achieving lasting impact.