Design has now been internationally recognised as an effective solution to reducing and in some cases even preventing crime. ‘Design has a huge role to play in tackling social problems such as alcohol related violence or bullying in schools.’ (Design Council, 2010) It also endeavours to address offences such as theft, fraud and shop lifting.
A multidisciplinary approach sees designers working alongside manufacturers, criminologists, police and technology experts in order to produce creative and effective solutions to deter or prevent crime. Collaboration with these different fields has led creative professionals to developing a range of goods and services, required to meet both the needs of individuals and communities.
Flyer created to alert customers of the Chelsea clips available in bars, with the intention being to reduce bag theft. Available at http://www.designagainstcrime.com/index.php?q=taxonomy/term/4History of Crime and Design
Previous research into the key role that design can play on reducing crime has centred mainly on environmental factors. Studies have found that, ‘Urban design can reduce the perceived risk and actual incidence of crime through improved lighting systems, building design and security.’ (Press, et al., 2000)
In response to these findings the ‘Secured by Design’ campaign was established in 1989. Having been developed by a team of senior Crime Prevention Officers, its main goal was to ‘encourage the building industry to adopt recommended crime prevention guidelines in home, estate and commercial design.’ (Secured by Design, n.d) One of the main features of this campaign was the bringing together of various companies, authorities, designers and the general public to achieve this one key objective.
The following year a Home Office Circular reported that ‘the most significant advance has been the widespread adoption of the partnership model – the inter-agency approach to crime prevention.’ (Secured by Design, n.d)
This recommendation has led to the establishment of key partnerships between government bodies and design experts who work together to tackle other areas of crime in which design can have a major impact. Whilst work involved with designing out crime from buildings has continued, over recent years there has been greater emphasis placed on the role that product and graphic design can play in reducing crime.
1999 saw the establishment of Design Against Crime; ‘ a practice led design initiative.’ (Design Against Crime Research Centre, 2009) Originally, established at Central Saint Martins, the project was funded by the University of the Arts and supported by the UK Government and Design Council. In 2005, after recognition for its research into crime and design, it was renamed Design Against Crime Research Centre. The centre aims to ‘reduce the incidence and adverse consequences of crime through design of products, services, communications and environments that are ’fit for purpose’ and contextually appropriate in all other aspects.’ (Design Against Crime Research Centre, 2009)
It promotes the benefits of designing out crime to manufacturers, businesses and the government. It helps resource material and the tools needed by designers to create the products that work as real solutions.
Most recently work between the Home Office Design and Technology Alliance Against Crime and the Design Council led to the creation of a new program entitled Design out Crime in 2007. This project aims to continue the development of innovative solutions for environmental issues such as housing, as well as reducing social problems including alcohol related crime and bullying in schools.
Advances in technology have led to certain products being targeted by new types of crime including theft and fraud. Design out Crime focuses on the manufacture and modification of ‘hot products’ to make them more secure for the user and less attractive to the abuser. Emphasis is also being placed on collaboration with businesses in order to reduce the incidence of shoplifting and to make manufactured products more secure.
Barcode coated with photochromatic ink which changes colour when exposed to UV light. This product can be validated with the light from the checkout scanner. http://www.designcouncil.org.uk/our-work/challenges/Security/Design-out-crime/Business/Relevance to design and design process
It has been documented that ‘informed design can be used effectively as a tool for reducing crime associated with environments, products and services through designing in crime reduction measures during the initial stages of the design process.’ (Erol, et al., n.d)
However despite these findings many designers are relatively ill informed of the role that design can play in preventing crime. Those that do, may face several challenges, as manufacturers can often be reluctant to alter products if it is not in their best interest. (Clarke and Newman, 2005)
Focusing on the most recent development of crime prevention, through product design, it is apparent that many of the current design features used to prevent crime are considered to be after thoughts. With security features, being added to a product after creation, rather than during the initial stages of development.
This is where the role of the product designer can play a significant part in the design process. It is essential that in order to prevent crime from happening the opportunity for crime to take place is reduced or even erased. Designers can apply their creativity to produce effective solutions to changing crime problems, at the initial stages of development so that crime prevention is built in to the design.
Consideration has to be placed on creating products that do not compromise on function, aesthetics and cost. Therefore, the challenge these designers face is being able ‘to incorporate good quality design against crime, in ways which makes it likely that the products will be appropriately produced, widely purchased and effectively used.’ (Press, et al., 2001) This objective can be implemented by ‘anticipating, or taking into account of prior experience of the susceptibility of the product as a target or a tool for the commission of crime.’ (Press, et al., 2001)
In order to get crime proof products into the public domain it is essential that manufacturers, police, field experts and the community are willing to work alongside designers. Applying shared knowledge and creative thinking will hopefully lead to products being designed that serve in the interests of the user as well as the manufacturer.
Existing work, where designers have effectively collaborated with other professional bodies have led to the production of tamperproof Dulux paint containers, Sears security car batteries, barrel roofed bus shelters and Colourtag clothes tagging devices. (Design Against Crime, 2002) All designed to either deter crime from happening and/ or heighten public safety.
Even though much progress has been made, crime is not given as much consideration as other social issues, such as disability or the ageing population, in relation to design. This may be down to the limited information available on the subject or due to the fact that it is not an area, which receives great attention in design education.
However, calls to establish better design practice has led the UK Design Alliance to develop an initiative to promote the education of design to pupils at both school and university. Many of the organisations, mentioned previously, encourage educating students the importance of designing in security features to their products, buildings and services. The outcome, hopefully, being that crime prevention will become ‘an integral part of the design process.’ (Design Against Crime, 2002) Ultimately, resulting in users feeling safer, with less reward for abusers and the production of designs, which have an edge over their market competitors.
An advertising campaign entitled Ugly Faces, which aims to deter youths from stealing beauty products. Available from http://www.designcouncil.org.uk/our-work/challenges/Security/Design-out-crime/Business/References
Clarke, RVG. and Mayhew, P., 1980. Designing out Crime. London: Her Majesty’s Stationery Office.
Clarke, R. and Newman, G., 2005. Designing Out Crime From Products and Systems. Devon: Willian Publishing Cullompton.
Design Against Crime, 2002. Streetwise [online]
Available at http://extra.shu.ac.uk/dac/stscene.html [Accessed 25 September 2010]
Design Against Crime, 2002. The Issues [online]
Available at http://extra.shu.ac.uk/dac/issues.html [Accessed 25 September 2010]
Design Against Crime Research Centre, 2009. DAC Background and History [online] Available at http://www.designagainstcrime.com/index.php?q=dacbackgroundandhistory [Accessed 25 September 2010]
Design Against Crime Research Centre, 2009. Design Methodology [online] Available at http://www.designagainstcrime.com/index.php?q=designmethodology [Accessed 25 September 2010]
Design Council, 2010. The Alliance [online]
Available at http://www.designcouncil.org.uk/our-work/challenges/Security/Design-out-crime/The-Alliance/
[Accessed 28 September 2010]
Erol, R. Press, M. Thomas, M and Cooper, R., (n.d). Design against crime: awareness in design education, Design Against Crime [online]
Available at http://extra.shu.ac.uk/dac/respub.html
[Accessed 29 September 2010].
Press, M. Cooper, R and Erol, R., 2001. Design as a tool for social policy: The case of ‘Design against crime’, Design Against Crime, [online]
Available at http://extra.shu.ac.uk/dac/respub.html
[Accessed 29 September 2010].
Press, M. Erol, R. Cooper, R. and Thomas, M., 2000. Design against crime: defining new design knowledge requirements, Design Against Crime, [online]
Available at: http://extra.shu.ac.uk/dac/respub.html
[Accessed 29 September 2010].
Secured by Design., (n.d). Secured by Design.
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