Reading: Making Aging Positive

Emily Glass
Making Aging Positive_Reduced.pdf

HEALTH

Making Aging Positive

Many of my older-adult patients wanted to make a difference in the world but, finding no role for themselves, were treated as socially useless. Having created a new stage of life, the next step is to make it meaningful.

LINDA P. FRIED

JUN 1, 2014

Between 1900 and 2000, average life expectancy increased by nearly 30 years in the United States and most other developed countries of the world, and the developing world is catching up quickly. For the first time in history, most people now being born can expect to live seven, eight, nine, or more decades. This achievement changes not only the trajectory of individual lives but also the shape of societies: Adults 60 and older are now the fastest-growing segment of our population.

This achievement gives rise to new important questions: What do we want to do with an extra 30 years? How should we, as individuals and as a society, shape the trajectory of our longer lives? Can we design a trajectory that improves the well-being and opportunities of people at all ages? Should we be designing new social policies that will foster these opportunities? How do we prepare young people for longer lives—and can these questions be answered in ways that would be beneficial for all generations?

Unfortunately, rather than evoking celebration or innovation, the news of our longer life spans is generating fear and angst among individuals and concern among policymakers. The questions posed most frequently are not the ones mentioned above, but rather these: Can we afford all these old people? Will they bankrupt our society or ransom the future of our children and grandchildren?

The truth is that we have created a new stage of life but have not yet envisioned its purpose, meaning, and opportunities, and the space is being filled with our fears. [W]e are not looking for answers in the right places.

***

When I was a young geriatrician practicing in Baltimore, I operated under the light provided by my medical training, which prepared me to prevent or treat the health concerns affecting my patients. My training was invaluable, and geriatric medicine is a specialty highly tuned to the needs of older adults. Yet, as they shared their lives with me, my patients taught me that many of the ills associated with aging were worsened—or even created—by the lack of meaning and purpose in people’s lives. Too many of my patients suffered from pain, far deeper than the physical, caused by not having a reason to get up in the morning. Many of my patients wanted to make a difference in the world but, finding no role for themselves, were treated as socially useless and even invisible.

We are a species wired to feel needed, respected, and purposeful. The absence of those qualities is actually harmful to our health, as public health and social scientists have demonstrated. In one pivotal study conducted in the late 1970s, psychologists Ellen Langer and Judith Rodin (now president of the Rockefeller Foundation) examined the significance of autonomy and personal responsibility for the health of nursing home residents. One group of residents was told that they could arrange their room furnishings however they wanted, decide for themselves which nights to attend a movie, and choose house plants to keep and nurture. A second group of residents, advised that the staff “want to do all we can to help you,” had their furniture arranged for them, were informed which movie nights to attend, and were given a house plant cared for by a nurse. After three weeks, almost all residents in the first group experienced significant improvement in physical and mental well-being, whereas most participants in the second group declined or stayed the same.

A follow-up study conducted 18 months later found, remarkably, that members of the disempowered group (which mirrored how we usually treat older adults) were twice as likely to die, compared to their empowered peers (30 percent mortality compared to 15 percent). Further, there is science to suggest that beyond just feeling useful, a key need for successful aging is to feel that you have contributed to leaving the world better than you found it.

So I began to write prescriptions for my patients: “Find something meaningful to do and report back.” Time after time, I would hear back from highly capable older adults that they couldn’t find jobs. If they tried volunteering, they were frequently assigned to roles that didn’t use their capabilities, like licking stamps for someone else’s mail. What a waste of people with a lifetime of experience!

I came to understand that these people, rich in experience and abilities, were being viewed through a lens of ageism that rendered their individual talents and achievements invisible. Few roles existed that used the experience and skills acquired over a lifetime. In our society, older adults are routinely dismissed as impaired, slow, or demented unless they can prove otherwise.

A story a few years ago in The New York Times on the invisibility and marginalization of older adults concluded that “such indignities seem to happen to almost everyone with gray hair or a few wrinkles, and at every sort of place. Store clerks, bank tellers, government workers, pharmacists, hairdressers, nurses, receptionists, and doctors alike ignore the older person and pay attention exclusively to the younger companion, regardless of who is the actual customer or patient.”

There is a growing body of impressive research showing that our attitudes toward aging affect our health, our resilience in the face of adversity, and our very survival. Becca Levy at Yale, a pioneer and leading researcher in this area, conducted a study that followed several hundred adults (50 years and older) for more than 20 years. She and her colleagues found that older adults who held more positive age stereotypes lived 7.5 years longer than their peers who held negative age-related stereotypes.

Ursula Staudinger, director of the Robert N. Butler Columbia Aging Center at the Mailman School of Public Health, has conducted groundbreaking research on the positive plasticity of aging. Her work shows that biology, behavior, and culture constantly interact to shape the development of our lives into the oldest ages. This work confirms the importance of physical environments and social institutions as well as individual attitudes towards aging across the life span.

Unfortunately, negative stereotypes are much more common than positive images; indeed, according to some researchers, ageism is more pervasive in our society than negative stereotypes based on gender, race, or sexual orientation. Our negative attitudes towards aging blind us to the fact that millions of people in their '60s, '70s, '80s, and beyond are robust, active, functional, experienced, capable and talented—and that they want to remain engaged and contributing. However, we have not yet created the social structures, roles, and institutions to capitalize on our success in adding years to life by also adding life to years.

***

We have added 30 years to our lives, not just for the lucky few but for the majority of people in the developed world, and now the developing world. What does this new stage of life mean? Psychologists Erik and Joan Erikson viewed later life as a time when the impulse to give back to society (generativity) becomes an urgent need. Carl Jung, who was unique among early psychologists in his interest in the challenges of the second half of life, saw older age as a rich period of spiritual growth and individuation. Betty Friedan, who trained as a social psychologist, researched the issue of aging late in her life, and suggested that there is a “fountain of age,” a period of renewal, growth, and experimentation based on a new freedom.

The truth is, we don’t yet know what this new stage of life can be, but the first step is to change the lens through which we view aging and challenge our stereotypical assumptions.

For example, contrary to what we believed even in recent decades, exercise can significantly increase muscle mass in older adults, even among nursing home residents; physical and mental exercise can enhance the brain’s plasticity; and meaningful social engagement and activity can reduce the risk of social isolation, depression, and illness, while making a difference in our society.

One very hopeful sign for the future is that leading figures from many fields are starting to recognize that increased longevity is a game-changer for all sectors of society. Through my own service on the Global Agenda Council on Ageing, a special project of The World Economic Forum, I have had the opportunity to collaborate with innovative leaders in business, politics, academia, and health to proactively address how we build a successful aging society from multiple perspectives. We also want to engage the public in this dialogue. Toward this end, the Global Agenda Council on Ageing recently produced an e-book outlining the challenges and opportunities we see, and offering innovative approaches that we plan to undertake in the future.

These examples underscore the importance of investing in research and education on aging and health changes across the life course, and creating the means to achieve this, since the keystone for successful aging is our ability to enjoy good health and function. Having created a new stage of life, the next step is to make it meaningful.

  • Students should receive a general safety orientation on their first day. 
  • For elementary students, you will teach them how to draw lines and curves on paper. Additionally, you will sit with each child to observe how they hold the scissors and ensure they are using them correctly.
  • For middle school and high school students, their first encounter with prototyping usually occurs during the introductory activity on day 1. In this session, you will present the first two presentations we have prepared about prototyping. During the presentation, it is important to explain why we use a cutting mat, a metal ruler, as well as the properties of a cutter and glue gun.
  • After the presentation, you should personally engage with every student. Demonstrate the proper use of the cutting mat, metal ruler, cutter, and glue gun, ensuring they understand the techniques involved. Allow the students to try these techniques themselves under your supervision and guidance.
  • Subsequent tutorials or lessons around using specialized equipment will be presented as the tools are introduced in the curriculum.

  • Work spaces should be well lit.

  • Paths to exits should be well marked and kept clear.

  • Use tools only for their intended purposes.

  • All tools should have a “home”.

  • Mount basic user instructions and safety guidelines next to all complex equipment or power tools (laser cutter, 3D printer, etc).

  • Have safety posters in studios and the makerspace.

  • Check the list of materials allowed in the studio, before introducing any material inside the room.

  • Cleaning up and putting extraneous tools and equipment away should be part of daily culture. 

  • Backpacks, phones, loose clothing and other distractions should be kept out of the way in the Studios and makerspace. 

  • Extension cords and other tripping hazards should be kept to a minimum. If necessary, cords should be neatly secured to the floor and identified with bright colors. 

  • For coaches: Our storage area contains dangerous machines and materials. Please ensure that you read the labels carefully before moving anything around. All these items have yellow caution tape around them to indicate their hazardous nature. It is crucial to be cautious and not use or expose these materials when students are present in the center (also you should be careful when handling those items).

  • All scrap pieces like cardboard, acetate, odds and ends will be kept in a “recycle box” for you to use in other projects. We need to be mindful that we have limited resources and that we need to make sure that nothing goes to waste.


  1. Safety equipment

Safety equipment should be placed in a highly visible location and clearly identified to students and teachers as part of their orientation.

  • First Aid Kit

  • Gloves should be worn at all times

  • Eye protection (Safety Goggles)

  • Safety Goggles are required to be worn in the makerspace at all times, by every user. 

  • Ear plugs

  • Wear only shoes that cover the entire foot, no open-toe shoes or sandals.

  • Fire extinguishers

  1. Makerspace Rules

To enter the makerspace you must:

  • Wear eye protection

  • Have hair, jewelry and sleeves secured/removed

  • Wear closed toe shoes

  • Use of equipment is a responsibility that is earned. Follow work guidelines, slow down, think it through and ask for help.

  • Seek supervision from a coach or makerspace manager when using powered cutting tools or chemicals.

  • Take what you need to work at your desk if possible, return tools and materials always.

  • Maintain good awareness of your surroundings.

  • Never use a tool unless you’ve been trained to use it safely.

  • Use tools only as they were designed to be used. 

  • Never walk away from a tool that is still on.

  • Never use a broken tool, and report any broken tools or machines immediately.

  • Clean up your work area and return all tools to where you got them.

  • Mop up spills immediately.


  1. Rules and procedures for common tools

  • Cutting/ Box Cutter/Exacto Knife

  • Cutting tools: When working with cutting tools, plan your posture and actions thoughtfully to avoid inflicting self-harm. 

Elementary

  • Elementary students are not allowed to have cutting tools, including cutters and big scissors. If you need to use scissors, it has to be done under supervision and only to cut light material, like paper and flexible light objects that won’t snap when cut. They are not allowed to cut cardboard whatsoever, if needed the coach can do it outside class time during prep time. Instead, they should use specific cutting tools made for cardboard cutting. For the use of scissors please do a little "Scissor seminar" with them, where they are cutting along a spiraling line on a sheet of paper, and have to supervise them to make sure their hands are in the correct position. I think this might be a skill that requires a bit of dedicated attention/ skill-building time, since it's so fundamental to their studio work..

  • Have them wear gloves as well, and safety glasses.

Middle school & High school

  • Always use a cutting mat and metal ruler with an edge guard.

  • Always retract your cuttter blade when not in use.

  • Keep material secure with a clamp and keep hands and fingers out of blade path. Keep body out of blade path.

  • Cut in a controlled way, watch what you are doing.

  • Using dull blades can be more dangerous than sharp blades. Regularly change out blades or snap blades with a set of pliers. Always dispose of blades immediately in sharps disposal.

  • Return tool when you are done.

  • The box you take to the studio is gray and contains 14 cutters, numbered from 1 to 14. Make sure you have all numbers before dismissing students. Same for scissors, make sure you have all scissors before dismissing students. 

Hot Glue Guns

Elementary 

  • They are not allowed to use glue guns, they are only allowed to use UHU stick glue. 

Middle school & High school

  • Glue sticks should not be  accessible for students, and are only carried by the coaches. 

  • Students can use the glue gun after completing the safety orientation on day 1.

  • Do not glue directly on the table or a cutting mat. Use butcher paper or scrap paper underneath the project.

  • Run power cord in a safe manner that doesn’t present a hazard to others. We are placing tables according to electrical plugs, where the electrical cord will be connected to.

  • After gluing, unplug the glue gun and leave to cool.

  • Wrap cord and return tool when you are done. 

  • For extra blades, cutters, and glue gun, you will find a transparent box in the top closed shelve on the right on top of the paint/strings. There you will find extra types of glue and the super glue. 

Electronics

  • When bringing electronics into the studio, please take only the number of pieces you need, corresponding to the number of students or groups you have. For basic electronics, you can find them in the large transparent boxes with compartments. For additional basic tools, look for the transparent box with blue tape. If you require more advanced pieces, check the white box with a green post-it note and the small drawers in the orange compartment.

  • Use electrical tape to connect electrical components. No glue gun or any type of tape. 

  • When using alligator cables, make sure students are aware that current goes through the metal part; as such, this part should be covered with the plastic part.

  • No soldering piece, unless it's an advanced project in Open innovation or capstone. Also, solder in a ventilated space.

  • Take care of Arduinos and make sure they are always intact.  

Dis-able

En-able


Prompt

In this exercise, pairs explore the affordances of everyday objects by simulating physical or sensory limitations. Participants perform tasks with the object under these constraints, identifying challenges and designing a low-fidelity prototype to improve usability.

Instructions

  • Pair up with another student (5 mins) Form pairs to explore the affordances of everyday objects. 
  • Choose an Object (5 mins) Each pair selects one objects to examine (e.g., mug, scissors, smartphone).
  • Perform Tasks (10 mins)  Have your partner perform typical tasks with the chosen objects under the simulated limitations * (e.g., thick gloves for handling a mug, blurred glasses for using a smartphone). Identify specific challenges related to the chosen object's affordances based on your observations ( What actions became more difficult? How did the object's design hinder or help in completing tasks?).
  • Design Prototype (60 mins) Work with your partner to design and build a simple, low-fidelity prototype that enhances the affordance of the object for the identified task using the provided materials.
  • Test Prototype (10 mins) Test the prototype with the simulated limitations in place.
  • Iterate Design: Refine the design based on feedback and observations to improve its effectiveness.
  • Documentation & Reflection: Take photos of the simulated limitations and the designed prototype. In your post, describe the limitations you simulated, the tasks explored, and the design process for your prototype. Include photos and a brief explanation of how the prototype enhances affordance. Post your slides in the "Responses" tab at the top of this page.

*(meaning: temporarily and cautiously impair how they move or use their senses in the world). 

Time 90 mins

Materials 

  • Common objects (e.g., mugs, scissors, smartphones)
  • Low-fidelity prototyping materials: Cardboard, Tape, Scissors, Utility knives, Rulers, Pencils, Cutting mats, Optional: hot glue guns.
  • Documentation supplies (cameras, notebook)

Examples 

Mug/Cup:

  • Problem: Difficulty gripping or holding, especially with limited dexterity or strength.
  • Possible Solutions: Design handles or grips that are easier to hold, insulated to maintain temperature.

Scissors:

  • Problem: Hard to use with limited hand strength or dexterity.
  • Possible Solutions: Create a mechanism that requires less force or allows use with different grip styles.

Smartphone:

  • Problem: Small buttons and screens can be challenging for those with visual impairments or limited fine motor skills.
  • Possible Solutions: Design larger buttons or voice-activated controls, improve tactile feedback.

Remote Control:

  • Problem: Small buttons and complex layouts can be confusing or difficult to use.
  • Possible Solutions: Simplify button layout, enhance tactile differentiation between buttons.

Door Handle:

  • Problem: Hard to turn or grasp, especially for those with arthritis or limited hand strength.
  • Possible Solutions: Design handles that are easier to push or pull, or require less force.

Cutlery (Fork, Spoon, Knife):

  • Problem: Hard to hold and use with limited grip strength or coordination.
  • Possible Solutions: Create ergonomic handles that are easier to grip, add weight for better control.

Keyboard:

  • Problem: Typing can be difficult for those with limited fine motor skills or repetitive strain injuries.
  • Possible Solutions: Design larger keys or alternative input methods (e.g., voice typing).

Zipper

  • Problem: Difficult to grasp and pull, especially for those with arthritis.
  • Possible Solutions: Design larger, easier-to-grasp zipper pulls or alternative closure methods.

Chair:

  • Problem: Hard to sit down or get up for those with limited mobility.
  • Possible Solutions: Design chairs with supportive armrests, adjustable heights, or reclining features.

Pen/Pencil:

  • Problem: Hard to grip and write with for those with limited dexterity.
  • Possible Solutions: Create ergonomic grips, adaptive writing aids.

Jar Lid:

  • Problem: Hard to open with limited hand strength.
  • Possible Solutions: Design jar openers or alternative sealing mechanisms.


Studio Introduction

Jiyoo Jye

"Aging is not lost youth but a new stage of opportunity and strength." Betty Friedan (1921-2006)

The world's older population is growing dramatically

As a society, there are many ways to demonstrate how we take care of our aging population. In most cases, programs such as healthcare and special assistance are provided to enhance the quality of life and well-being of senior citizens- however that is not always the case. In this studio, students will have the opportunity to create something special for the aging community.

We will take a deep dive into understanding the daily life and hurdles of the aging population and how societies perceive and interact with the elderly in their community. Through research and interviews, we will learn about encounters and issues that result from aging.

Little Big Chair

Ryan Ferguson

At Milan 2016, Swiss studio Big-Game unveiled the Little Big Chair, a children's chair that is part of Italian brand Magis' Me Too collection, which caters specifically to young users. The chair, designed for children aged two to six, features an adjustable plastic seat that fits over a wooden frame and can be set to three different heights to accommodate a child's growth. Available in three colors, its design includes sliding plastic elements that can be adjusted and secured with simple white pegs, allowing the chair to adapt as the child grows. Highlighting the durability and emotional significance of the chair, it is constructed to support even an adult's weight. Big-Game co-founder Augustin Scott de Martinville emphasizes that designing for children requires as much rigor as designing for adults, despite the challenges in obtaining direct feedback on comfort. The Little Big Chair was introduced among a wave of child-focused designs at the year's Milan design week, reflecting a broader trend in children's product launches.

https://www.dezeen.com/2016/04/08/little-big-chair-childrens-furniture-big-game-milan-design-week-2016/

Peel Chair

Ryan Ferguson


At Milan Design Week, PROWL Studio and M4 Factory will debut the PEEL Chair at the "Expect Death" exhibition, a sustainable alternative to plastic stacking chairs made from biodegradable hemp, aiming to challenge the fast furniture industry's waste. This initiative highlights the chair's compostable design and lifecycle awareness, utilizing innovative materials such as hemp-based bioplastic and a compostable hemp foam cushion, developed to decompose as quickly as an orange peel. Held in the former Porta Vittoria abattoir, the exhibition explores the environmental impact of furniture waste and showcases the chair's journey from production to disposal. The collaboration between the women-owned PROWL Studio and M4 Factory underscores a commitment to sustainability, utilizing the Milan Design Week as a platform to transform sustainable design from concept to scalable reality, promoting a future of responsible, mass-produced furniture.

https://designwanted.com/peel-chair-hemp-based-biodegradable-compostable/

Heir 2.0

Ryan Ferguson

Tamás Máté Nagy, an industrial design student at the Budapest University of Technology and Economics, developed the Heir chair for his senior thesis, which ingeniously adjusts from adult-sized to highchair-height to accommodate the changing needs of growing children. Targeting young families, this chair addresses the transitional period when children outgrow traditional highchairs but are still too short for regular chairs, typically from ages 3 to 12. The Heir chair’s design allows it to remain useful beyond these years, essentially growing with the child and providing long-term functionality. Nagy collaborated with a skilled carpenter to enhance the quality of the prototype, gaining valuable insights into craftsmanship. Additionally, he innovated the assembly process by designing custom 3D-printed bolt heads that can be fastened using just a coin and manual force, eliminating the need for special tools. This feature not only simplifies the construction but also reflects a commitment to accessible and adaptable furniture design.

https://www.core77.com/posts/117784/Great-Post-Industrial-Design-Student-Work-A-Chair-That-Transforms-Into-a-High-Chair?utm_source=core77&utm_medium=from_title

Knot Waste Furniture

Ryan Ferguson

At an exhibition in Wales focused on design and waste reduction, UK consultancy PriestmanGoode unveiled their Knot Waste Furniture system, a sustainable furniture solution that cleverly utilizes a single sheet of material to produce minimal waste. This system is designed to create various types of furniture, such as tables, benches, stools, and side tables, using a single flexible template that can be scaled to suit different needs. The key to this system lies in its simplicity and the use of rope to assemble the pieces, ensuring that no advanced woodworking or joinery skills are necessary. This makes it accessible even to those with minimal experience in handling tools, with the most challenging equipment being a jigsaw. The design maximizes the use of materials while minimizing waste, aligning with sustainability goals. PriestmanGoode has made the design templates and a knot-tying guide freely available, providing comprehensive instructions that guide users through the entire assembly process. This approach not only promotes environmental sustainability but also democratizes design by enabling more people to create their own furniture.

https://www.core77.com/posts/118953/Waste-Reducing-Design-A-Single-Sheet-of-Material-and-Rope-Forms-Furniture?utm_source=core77&utm_medium=from_title

https://www.priestmangoode.com/knot-waste/

The Hulot System

Ryan Ferguson

Jacob Cuesta Wolf, an Industrial Design student at Burg Giebichenstein University of Art & Design Halle in Germany, has developed the Hulot system, a modular furniture concept designed to address the sustainability challenges in furniture production and waste. Highlighting the alarming statistic that half of all bulky waste in Germany consists of still-usable furniture, amounting to nearly 1.7 million tons—a figure that has increased during the COVID pandemic—Wolf's design introduces a new model for circular use of furniture. This system assigns long-term responsibility to producers for the maintenance, repair, and refurbishment of products, fundamentally altering the relationship between users, producers, and the objects themselves. The Hulot system is based on a circular design that allows furniture pieces, such as chairs and tables, to be easily transformed and repurposed—like converting a chair into a table, then into a children’s high chair, and back into a chair. This adaptability ensures that the furniture can meet changing needs without becoming waste. Utilizing materials that store CO2, are recyclable, or are already made from recycled materials, the design not only emphasizes sustainability but also fosters a new attitude towards product development, promoting a lifecycle where products are continuously reused rather than discarded.

https://www.core77.com/posts/125064/Industrial-Design-Student-Work-Modular-Repurposeable-Furniture?utm_source=core77&utm_medium=from_title

https://design.jcwolf.de/HULOT

MLT Furniture

Ryan Ferguson

MLT is the fruit of a collaboration with a recycling plant based in Bromont, Quebec. I wanted to engage within the rigid and energy consuming industrial process that is recycling. After being melted, plastics are passed through and industrial extruder. Inorder to prevent the contamination or blockages, machines need to be purged regularly. Consequently, uncontrolled and un-recyclable plastic is discharged on the floors daily. These pools of wasted material instigated my research and inspired me to create this project.

MLT is a collection of four prototypes made out of purged HDPE. I designed a simple aluminum frame-work which is placed under the extruder that needs to be purged. The vessel, acting as a collector, guides and holds the liquid matter without restricting it to a predetermined shape. The outcome is a materialization of the symbiotic relationship between the imposed and organic form. 

https://www.emilemeunierdesign.com/mlt
https://www.core77.com/posts/126169/Furniture-Made-from-Excess-HDPE-Purged-from-a-Recycling-Machine?utm_source=core77&utm_medium=from_title