





































 

1 

 
 
 

 

 

https://www.designforsocialchange.org/journal/index.php/DISCERN-J 

 

ISSN 2184-6995 
 

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 
International License. 

 

  

 

 

 
Designing a value object for perpetrators of domestic violence 
 

Inge Andrew 

 

Published online: November 2022 

 

To cite this article:  

Andrew, I. (2022). Designing a value object for perpetrators of domestic violence. Discern: International 

Journal of Design for Social Change, Sustainable Innovation and Entrepreneurship, 3(2), 1-14. 

 

 

  



 

2 

Designing a value object for perpetrators of domestic violence  
 

Inge Andrewa 
 
aSchool of Design, Otago Polytechnic, Dunedin, New Zealand. Inge.Andrew@op.ac.nz 

 

Abstract 

This article focuses on a group of people who do not have a voice in everyday discourse – perpetrators  

of domestic violence. By engaging with qualitative design methods, including the Double Diamond design 

process, and looking at the system of interactions and experiences at Stopping Violence Dunedin (SVD), this 

research identified a series of themes and milestones for men who are perpetrators of domestic violence, 

leading to the development of a value object. A value object can refer to that which creates value for the 

user. In this case, the object is a key that created a value proposition, working to celebrate the milestones 

that these men reach in their journey of change, supporting the possibility of an alternative future for them 

– a future without violence. 

 

Keywords: Human-centred design, User journey mapping, Double Diamond, Value object, Perpetrators  

of domestic violence 

 

Introduction 

The author’s Master of Design Research started in 2019 and continued through to 2021 while the world 

experienced the coronavirus pandemic. During the pandemic, there was evidence of increased domestic 

violence in our communities. The New Zealand Family Violence Clearinghouse found that 9% of New 

Zealanders who completed an online survey reported that they had experienced some form of family harm 

during lockdown (New Zealand Family Violence Clearinghouse, 2020). The United Nations described the 

worldwide increase in domestic violence as a ‘shadow pandemic’ alongside Covid-19 (Mohan, 2020). 

 

The statistics for domestic violence are high in New Zealand. According to the New Zealand Family Violence 

Clearinghouse’s 2017 statistics, 35% of New Zealand women have experienced physical and/or sexual 

intimate partner violence (IPV) in their lifetime. This statistic reaches 55% when psychological abuse is 

included. Research indicates that domestic violence affects every ethnicity in New Zealand, although some 

groups are at higher risk than others. A survey of women found that the lifetime prevalence of physical 

and/or IPV was 1 in 2 for Māori (indigenous people of New Zealand) women (58%) and 1 in 3 for 

European/other women (34%) and Pacific women (32%) (New Zealand Family Violence Clearinghouse, 

n.d.). From 2009 to 2017, 230 family violence deaths were recorded in New Zealand, of which 48% were  

a result of IPV (Family Violence Death Review Committee, 2020). 

 

Family violence and perpetration of domestic violence are complicated issues. Research on perpetrators  

of domestic violence indicates that primary preventative measures, long-term investment and the need  

to develop a holistic approach that incorporates support from more than just the justice system are 

considered critical for reducing the incidence of domestic violence (Polaschek, 2016). It is also well known 

that perpetrators of domestic violence are often victims themselves, having experienced domestic and/or 

sexual abuse or other types of traumas in their own lives (Baker, 2013; Campbell, 2012; Roguski & Gregory, 

2014; Snegirev, 2017). 

 

https://library.nzfvc.org.nz/cgi-bin/koha/opac-detail.pl?biblionumber=3603


 

3 

Stopping Violence Dunedin (SVD) is a not-for-profit community group that works with men by offering 

individual and group therapy that offers positive change. SVD works with about 800 men per year who have 

a history of violence and supports them by listening to personal narratives and building trust and 

connections within group sessions. The SVD manager explained that the support developed in these 

sessions is a vital component in the men’s journey as well as the opportunity for change and hope for a life 

without violence. The manager was concerned about the drop-off rates of the men and expressed an 

interest in seeing if this support could be extended to them in some way during the week when they are 

away from SVD. This support, and the skills they learn at SVD, are critical while the men deal with the 

everyday stresses of life. 

 

Methodology 

Human-centred design (HCD) and qualitative design methods underpinned by the Double Diamond design 

process were used to determine whether design could support the transformation of violent male 

offenders within SVD. The Double Diamond process is a non-linear design method which explores needs, 

ideas and opportunities by using a discover, define, develop and deliver approach. The two-diamond 

approach works through a process of deep discovery using divergent thinking, followed by focused action 

(IDEO, n.d.). The four cores of the Double Diamond principles are research, insight, ideation and 

prototyping. 

 

The very nature of HCD is to generate an understanding of a user group or community and reach a variety 

of solutions for an issue using specific qualitative design methodologies. According to Crouch and Pearce 

(2012), the key intention of qualitative research is to provide a vehicle through which participants’ voices 

can be heard. As a generative process, it keeps the user firmly in scope, seeking to arrive at solutions to  

a particular issue that are both feasible and desirable, with a bias towards action (Clarkson, 2015). It is only 

by engaging in a thorough process of HCD that a researcher can fully understand the community within 

which they are working and strive to create an innovative solution which is specific and contextual. In this 

research, HCD methods which originated from sociological practice (expert interviews and focus groups) 

were used alongside design methods such as user journey mapping, sketching and reflection to develop  

a design intervention point and prototype ideas. 

 

Semi-structured interviews and thematic analysis 

The 14 interview questions for the four SVD facilitators were based on a face-to-face, open-ended, semi-

structured method, which worked as a framing device to open up new possibilities during the 

conversations with the interviewees (Crouch and Pearce, 2012). The interview questions in this study 

covered both how the facilitators see their role in the SVD group sessions and what they think is important 

for the men as they begin to face the process of change. This method was employed by Roguski and 

Gregory (2014), who completed semi-structured interviews with former violent perpetrators to ensure that 

their voices and stories were the central focus of the study. The data from the interview transcripts were 

analysed using thematic analysis, which can highlight similarities and differences resulting in unanticipated 

insights (Nowell et al., 2017). Metzger and Woodley (2010), in their report about family violence and 

seeking help, also used iterative data analysis, which allowed themes and patterns to emerge. 

 

User Journey Mapping 

User journey mapping is a common practice in design, allowing the creation of a visual timeline of the 

user’s thoughts and emotions when using a new object or design and creating a visualisation of the process 

that a person goes through (Gibbons, 2018). Journey mapping can also isolate any moments of 

destabilization in the process and lead to a design intervention point that can introduce an improvement  



 

4 

or a new design idea. In this research, the journey of change for the men at SVD was visualised using the 

monomyth of the hero’s journey (Campbell, 1949). This draws from Joseph Campbell’s extensive analysis  

of human mythology, identifying a series of archetypal stages that are common across cultures in myths, 

fairy tales, dreams, books and films (Yuille, 2017). Campbell’s narrative structure can be applied to design 

to ensure that the user has an experience (or a journey), if not an actual hero’s experience. In this instance, 

the themes identified as part of the interviews and thematic analysis and information from a literature 

review were mapped onto Campbell’s hero’s journey to visualise a design intervention point. 

 

Focus Groups 

Two sets of focus groups were completed. The first with the SVD facilitators was undertaken to gain 

feedback about the identified themes, milestones and the prototype idea. The focus group with two  

SVD group members was conducted to gain insight into the milestones and the design prototype. 

 

Results 

Double Diamond design process - Discover phase 

The open-ended, semi-structured interview questions allowed the SVD facilitators (#1 to #4) to reflect on 

their experience with men who may be initially reticent to the idea of a life without violence but who, over 

time, develop new skills and an understanding that allow them to make positive choices. In this co-

construction of knowledge between interviewer and interviewee, a shared understanding was developed 

throughout the interactions (Hollingsworth and Dybdahl, 2007). 

 

The constructed narratives gained from the interview transcripts were analysed by comparing each 

interviewee’s answers to establish themes and patterns through iterative thematic content analysis. These 

themes were added to a table under the interviewee’s name, and if a common theme surfaced, this was 

considered relevant and given a number. These themes were then compared with other academic research 

(including research by the SVD facilitators themselves) and details of these were also added to the tables. 

When the data from the themes were tallied, any theme that had a total of 10 or more references was 

considered relevant to this study (Table 1). Overall, seven common themes were identified by the 

facilitators and from research on men who undertake the journey towards a life of non-violence. 

 

Table 1: Seven common themes for perpetrators of domestic violence. 

 

 Themes 

1. Men share, listen and tell stories 

2.  The group process helps to develop authentic relationships and connections 

3. Mentors offer model behaviour and hope for the new men 

4. The men develop self-awareness, which in turn raises consciousness 

5. Children are an important motivation for change 

6.  Cultural connectiveness is important to support positive transformation 

7. There is an overall journey of transformation that occurs for men at SVD 

 

Men share, listen and tell stories 

Telling personal stories during group sessions is an essential element in the journey of change for 

perpetrators of domestic violence. This can be an emotionally painful experience but ultimately leads to an 

awareness that other men share the same or related stories. Facilitator #1 acknowledged the pain that the 



 

5 

men bring to SVD but also the bravery. She sees this in the men when they tell their stories but also in the 

courage of other men who can be present with that emotional pain in the room. Facilitator #3 also referred 

to stories told during group sessions. He said: 

 

“They learn from each other. They will hear each other’s stories. They will get a better hearing in 

general. They’ll get a better understanding of the world. Their horizons will broaden. Their sense  

of who they are in the world will change, and, as a consequence, their behaviour and their approach 

to many situations will change”. 

 

This sharing of stories is only possible by relationship building which led to the second theme. 

 

The group process helps to develop authentic relationships and connections 

In the interview with Facilitator #3, he remarked that the group works to challenge several ideas, including 

those that support violence as well as a hopeless view of the world. The group works by connecting and 

developing hope that change is possible. The facilitators reported that men who tell the group that they 

had failed in some way during the week (e.g. shouted at a partner, child or workmate) usually speak with 

some relief, rather than a sense of fear. This is due in part to the empathy that is modelled in the group 

situation and the new ability to think outside just yourself. Facilitator #4 also highlighted the men’s need  

to be seen. The facilitators make sure that everyone is seen for who they are in the group, even if that is 

initially uncomfortable. Peers or mentors, men who have been through similar experiences, are crucial  

to this process which led to the third theme. 

 

Mentors offer model behaviour and hope for the new men 

Facilitator #1 spoke about the importance of mentors and their presence in the group. These are men who 

have attended SVD for several months and are familiar with the process. Their presence indicates that the 

process at SVD works if you stick to it. Facilitator #1 said: 

 

“So, I think the mentor’s role is to offer hope. Change is possible. Just by existing and being there 

and being able to say, ‘I used to be this and now I’m this’. And that this works”. 

 

Facilitator #3 said that he believes that the men who have been going to SVD for some time model good 

behaviour in terms of dealing with the many situations that the world throws at them. This model 

behaviour is eventually enfolded by the new men, helping to shape a new identity. He said, 

 

“What changes is the identity of the people we’re talking with. People change who they believe 

themselves to be”. 

 

This change of identity can also occur with self-awareness and the fourth theme in this research. 

 

The men develop self-awareness, which in turn raises consciousness 

Facilitator #4 mentioned that men can undergo change and let go of their current violent identity, which 

she referred to as a raising of consciousness. The men notice their feelings in a situation but also notice 

other peoples’ reactions. Facilitator #2 also talked about group members who are constantly disappointed 

by their behaviour, which can send them into a cycle of old unpleasant habits. The facilitators constantly 

tend to those behaviours during the group and work on developing new, positive ones. She said: 

 



 

6 

“They are disappointed with themselves, and they can sit with the discomfort of that because that 

then becomes the new motivator to try harder, while at the same time not beat themselves up 

about it because that just goes back to the old punitive model”. 

 

Making changes to one’s personality is complicated, but there can be many motivators for change, 

including children, which led to theme five. 

 

Children are an important motivation for change 

Facilitator #3 pointed out that the men who come to SVD essentially just want peaceful lives. They want to 

be able to work, save some money, get some assets and look after their children. Their motives for change 

are ordinary, but believing that change is an option can be challenging. Facilitator #4 pointed out in her 

interview that although children were a good motivator for change, change for the individual first was more 

important. She said: 

 

“Often there comes a shift somewhere along the line and it becomes something they realise – 

actually it’s not about anybody else. ‘It’s nice that I’m doing this for my kid but I have to do  

it for me first’. But that’s a process”. 

 

A way of supporting positive transformation can also be guided by cultural connectiveness.  

 

Cultural connectiveness is important to support positive transformation 

All the facilitators spoke of the importance of connections (whakawhanaungatanga) in the group. 

Whakawhanaungatanga is a Māori word that loosely translates as relationship building and family 

connections. Facilitator #1 said that it is continually about connecting and treating everyone who comes 

through the door like a long-lost family member. In response to a question about this connectiveness, 

Facilitator #2 also said: 

 

“We value those differences instead of insisting that we have the same understanding or the same 

set of values or whatever. We show a willingness to understand, be open to, be curious and have an 

openness to the cultural values and the cultural norms that other people have grown up with. That’s 

important”. 

 

It may be that connection to one’s own culture is a new experience, and this is part of a journey of change 

that leads to the last theme identified in this research. 

 

There is an overall journey of transformation that occurs for men at SVDFacilitators #1, 2 and 4 all 

reiterated the idea in the groups that “we are all in this together” and “we are all a work in progress”, 

highlighting to the men that change is possible with support. There is a lot of vulnerability and pain in the 

group that is so important for the process. Facilitator #1 remarked that some of the men have experienced 

unbelievable trauma in their lives, and in many ways they are only duplicating what they have learnt 

growing up. The transformation that the men undergo was also a reason that Facilitator #2 came to work 

every day. She said: 

 

“I think it is the magic of transformation. When you see changes happening […]. You know when 

someone turns up and they’ve been hiding under a hoody for months and the hoody comes down. 

What might look like a surface change […] represents something much bigger. There is something 

very persuasive about that level of change”. 



 

7 

 

Double Diamond – Define phase 

User Journey Mapping 

With the identification of themes, it was then possible to complete a journey map for the SVD men, 

specifically using the monomyth of the hero’s journey (Campbell, 1949). Lupton (2017) in her book Design 

is Storytelling discusses Campbell’s ubiquitous concept of the circular journey where the hero gets a call to 

adventure, initially refuses the call, but, with the help of a sidekick, embarks on a journey of tests and 

rewards, resulting in returning home with a hero’s story. Although the hero’s journey is not typically found 

in HCD, it made sense here to relate the hero to men at SVD and the sidekick to their potential mentor.  

The importance of the relationship between mentors and new men at SVD has already been identified  

in the themes above. As Lupton (2017) also identified, the circular pattern of the hero’s journey is useful  

in design, as the user goes through a series of highs and lows and their relationship with an object changes 

over time. 

 

The mapping of experiences of new clients at SVD identified a point of design intervention where the men 

go through trials and failures in their journey of change (Figure 1). Through trials and failures, this part of 

the journey prompts personal growth by developing new skills and raising consciousness and self-

awareness, and the hero can accept help from their mentor along the way. In the seven themes identified 

above, the mentor at SVD proved to be fundamental to the journey of change, as they display a ‘been there 

done that’ narrative and are visible proof that the SVD group process works if you stick to it. The hero in 

this instance can cross the threshold with the mentor’s help and move through the rest of the journey 

towards change. This can include revelation (reviewing old behaviours that do not work anymore), change 

(being more compassionate with oneself), atonement and return with a changed identity. 

 

 
Figure 1: The hero’s journey for perpetrators of domestic violence (adapted from Campbell, 2008). 

 

Milestones 

Upon further reflection and consideration of the journey metaphor, as well as the idea of transformation, 

seven milestones were identified, which were later approved by the SVD facilitators during the focus group 



 

8 

session (Figure 2). Milestones can form an essential element of the journey mapping process, in which  

a series of actions drives the customer on a particular journey. “Action drives stories and it also drives the 

design process” (Lupton, 2017, p. 21). What Lupton means by this is that good design creates an unfolding 

story which works to create connections and memories for the user. 

 

 

 

Figure 2: Milestones for Stopping Violence Dunedin (SVD) men. 

 

Storytelling continues to be a strong focus from the research, the interview data andthe stories that come 

from the men at SVD. Authentic storytelling was also important in the analysis of responses to New Zealand 

It’s Not OK Campaign, a recent multi-year campaign to raise awareness about domestic violence. Point 

Research Ltd. (2010) found that the use of ‘real people telling real stories of domestic violence’ 

reverberated more with viewers than using actors in advertising. In this instance, the story of the new client 

at SVD, now that it is translated into actions (or milestones), could be further explored towards an engaging 

and accessible design solution. 

 

Double Diamond – Develop phase 

Prototype development 

The design of an object that the men could carry with them could act as a reminder of their journey of 

transformation towards non-violence as well as a particular milestone that they might have overcome. 

Initially thinking about what men carry in their pockets – a wallet, cell phone and keys, the key as an object 

is a useful metaphor for a journey but also carries many other meanings. For example, a key: 

 

- Opens and closes doors (both physical and metaphorical) 

- Is often lost and found again 

- Initiates new beginnings 

- Opens hearts 

- Solves mysteries 

- Unlocks potential 

 



 

9 

Keys are familiar items that protect safe spaces but can also metaphorically offer new experiences and 

hope. The familiarity aspect opens possibilities for the user and its potential to introduce a new and better 

future. In this case, the key could remind the men of the journey they were on, as well as their support 

network at SVD. Therefore, a further concept was to make a pattern on the key (relating to a particular 

milestone) that was tactile in some way. This idea fitted with the concept of the value object but required 

feedback from the facilitators at SVD. 

 

Focus Group (SVD Facilitators) 

A focus group with three facilitators was held to gain feedback about the design process to date - the 

themes, milestones and key idea as a value object. During the discussion with the facilitators, the idea of 

the key was attractive. However, in their opinion, not every group member should be given a gift of this 

kind, as some attended SVD merely to fulfil a court order. It was common for some men to attend the 

group sessions, not engage in the process and leave when the 26 weeks were completed. They also thought 

that seven milestone keys were too many and that it would be difficult to pinpoint when those turning 

points might be reached. Facilitator #1 felt that a key would be better presented when the facilitators see  

a ‘shift’ in a group member. This engagement (shift), where an understanding develops of the 

consequences of their violent actions, usually happens around the 4–6-week mark. It was also suggested 

that a second key could be presented to any of the men who become mentors. This is currently a casual 

process at SVD, but it is a considerable achievement when men in the groups start to show leadership and 

help new men to find their way. 

 

Key design 

Once the value object was determined, the process began with the design of the key and its associated 

pattern. The pattern on the key was important as both a memory enabler and a reminder of the milestones 

that the user had achieved, as well as the support of the group. Humans rely on both sight and touch to 

evoke memory, but this rumination can also work to develop new understandings of past mistakes. 

Designed objects, although seemingly inauthentic, can work to change behaviour in the holder, or at least 

induce a cognitive process. The men could reach for the key in their pocket during times of stress. 

The idea for the pattern of the first key came specifically from the word ‘shift’, which Facilitator #1 had 

identified in the focus group. The car shift diagram was a natural fit in terms of the metaphoric value of 

journeys as well as its connection with a ‘shift’ in behaviour. The shift diagram also indicates a succession  

of stages, going from first to second to third, etc. The second mentor key was based around the adjectives 

for the word ‘key’ (main, major, crucial etc) and the word ‘mentor’, which led to ‘protector’, in turn leading 

to ‘manhole cover’. The idea of the manhole cover is that it protects without being visible and is both 

strong and secure, as well as being inconspicuous (much like a mentor). 

 

There were a series of designs for creating the key, but the final prototype was created by developing  

a medium density fibreboard (MDF) mould, which was cast in brass by a local casting foundry. The mould 

was created by designing a key shape and the patterns in Adobe Illustrator and cutting these out using  

a LaserJet. The ‘shift’ and ‘manhole cover’ patterns on the mould were also raised by rasterising (removing) 

the surface of the pattern, ensuring a 3D-like tactile effect. Image 1 shows the MDF mould of the Mentor 

key with its associated ‘manhole cover’ pattern, and Image 2 shows the final prototype of the Shift key, cast 

in brass. 

  



 

10 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Image 1: MDF prototype manhole cover key. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Image 2: Final prototype Shift key, cast from brass. 

 

Double Diamond – Deliver phase 

Focus Group (SVD Group Members) 

The purpose of the focus group with two SVD members (#A and #B) was to gain their perspective on the 

seven milestones identified from the research, as well as feedback on the key concept as incentives for men 

at SVD. This session was based on the premise that these men were familiar with each other, as they had 

been in a group for several months. This level of comfort was important for the results of the focus group, 

which the researcher saw as a simulation of a social occasion rather than a formal interview (Lunt, 1996). 

The plan for this focus group was to keep it as open-ended as possible for the participants to feel 

comfortable interjecting as much as they wanted. The following is a summary of the conversation, including 

some key statements from the two participants. 

 

The two group members generally agreed with the milestones that had been developed but had differing 

views about the order in which they occurred. They also acknowledged that the milestones could come at 

different times and in different orders depending on the person. It also became clear during the 

conversation that people might revisit the milestones at different points of the journey. They were not 

necessarily a ‘one-time’ thing. 

 

There were many layers to the Speak (Tell your story) milestone. #A said that he heard his own story told by 

someone else at the first group session he attended, which affected him deeply. It was not his story, but he 

realised then that other people had similar stories to him. It had, however, taken him longer to learn to 

listen to other peoples’ stories. For him, the ‘Return to SVD’ milestone was determined by that initial 

experience, and he returned the next week without question. #B, however, said that it took years before he 

was able to return to SVD, as he was emotionally triggered by other group members in the first session he 

attended and did not go back. He also acknowledged that ‘Telling your Story’ is one thing but taking 

responsibility for it is another process altogether. When we discussed the milestone ‘Accepting Hope’, they 

both agreed that it takes varying amounts of time depending on the person, and it can be triggered with 



 

11 

certain realisations. These could be, for example, recognizing that you have the power to change, becoming 

self-aware and identifying what your issues are. 

 

Another theme, ‘Playing the Long Game’, came up during the conversation, which is important to raise 

here. As mentioned previously, certain men attend SVD for the court-ordered 26 weeks and do not return 

(having not engaged in the process). Both participants had been attending SVD group sessions for more 

than two years and were adamant that the journey of change was lifelong. #B explained that many of the 

guys are very impatient, want instant gratification and find it hard to see the big picture. He echoed later 

that coming to SVD “is a lifelong thing and it’s a lifestyle change. It’s not a change of behaviour as such”. #A 

also said about the group sessions, “That’s what I do on a Wednesday. These are my guys. I’m a lifer”. 

 

The concept of the key was initiated by talking about what people have in their pockets. What do they carry 

with them that is part of their identity? When #A and #B were asked about what a key could represent for 

them, the discussion focused on opportunities, keeping and unlocking secrets, as well as safety. Losing your 

key can also create a source of anxiety. When they saw the Shift key with the gearshift pattern, the overall 

response was positive, with #B even comparing it to Alcoholics Anonymous sobriety chips. He also 

commented that the ‘reverse’ of the gearshift pattern was realistic, since the journey towards non-violence 

frequently consisted of ‘two steps forward, one step back’. He also commented that there was a lot of 

‘neutral’ or procrastinating in the process. They both agreed that a good time to give out the key was when 

a group member started to show a shift in attitude. #B mentioned that this can be a huge turning point 

when someone takes ownership of their violent behaviour. 

 

The Manhole Cover key was also well received, with the concept of this key being for a mentor who had 

moved into a space where he could start to show leadership to the other, newer members of the group.  

#A agreed that you do not notice manhole covers until they’re missing. They also concurred with the 

supposition that the key was suitable in the way that it is not obvious to anyone but the owner (#B 

mentioned early in the conversation that there is a lot of stigma and shame around attending SVD). #B also 

said that the manhole cover was like safety, and by the time you received, it you knew that there were a 

few people who definitely “had your back”. He reiterated that at SVD, it is about pain management, not 

anger management, alluding to the support that is built within the group. 

 

Discussion 

Frascara (2006) believes that we must stop thinking about design as the construction of graphics, products 

or services but as a means for people to act. In this research, a design solution was sought to remind men of 

the process and the support they receive at SVD. Qualitative design methods and the Double Diamond 

design process were applied to investigate processes at SVD and explore concepts and opportunities which 

resulted in ideas about journeys and change. This translated to the development of a value object, the Key. 

A value object is that which can influence possible or definite change, and a design artefact can create  

a shared language and understanding as well as imagine a new future (Zino et al., 2021). Through the 

development of themes and milestones at SVD, the value object displayed a message, defined by either the 

Shift or the Manhole Cover patterns. The idea of the value object was to ensure that the user experiences 

something and ultimately, has an emotion induced that might evoke a change (in this case, a response  

to a situation with something other than violence). This builds on Fuad-Luke's (2009) definition of design 

exploration where we can explore possibilities outside current paradigms. A value object can present  

a proposition and reveal a positive alternative. 

 



 

12 

We all navigate our world according to our context and our identity (which changes over time), and we 

keep, carry and wear objects with us that either represent our identity or someone we might hope to be. 

According to Lupton (2002), we rely on the world of things, using objects to survive and conquer, merging 

our identities with the objects we carry. Most of us, for example, carry a mobile phone with us, which helps 

us to access and share information (which evokes certain emotions), and we can feel lost without it.  

 

Objects that we keep at home either have a functional or emotive value (or both), and we are affected in 

some way if they are lost or broken. These objects sometimes tell a story and can communicate to us in 

certain ways. The keys, in this case, are a recognition of the work that has been put in but also a reminder 

of the support that has grown around the men at SVD. Just as a key is a metaphor for opening new doors, 

these keys are a start to a transformation – an alternative future where men can be in charge of their 

destiny.  

 

Acknowledgements 

I would like to acknowledge the staff at Stopping Violence Dunedin (SVD), particularly the manager, for 

helping me with this research. I am grateful for their time and expertise in helping me to understand the 

process and journeys of men at SVD. I would also like to thank the two men who attended the focus group. 

I will never forget their openness and honesty about their lives. 

 

References 

Baker, G. (2013). Effectively involving men in preventing violence against women. New Zealand Family 

Violence Clearinghouse Issues Paper 5. https://nzfvc.org.nz/issues-papers-5 

 

Campbell, J. (1949). The hero with a thousand faces. Princeton University Press. 

 

Campbell, J. (2008). The hero with a thousand faces (3rd ed.). New World Library. 

 

Campbell, L. (2012). Peer support : Reframing the Journey from lived experience of domestic violence. 

Christchurch Women’s Refuge. https://www.aviva.org.nz/resources/file/picker/5e2683cf59ab4.pdf 

 

Clarkson, M. (2015). Walk alongside: Co-designing social initiatives with people experiencing vulnerabilities. 

Victorian Council of Social Service. 

 

Crouch, C., & Pearce, J. (2012). Doing research in design. Berg. 

 

Family Violence Death Review Committee. (2020). Sixth report | Te Pūrongo tuaono Men who use violence 

| Ngā tāne ka whakamahi i te whakarekereke. https://tinyurl.com/ft9rftwc  

 

Frascara, J (2006). The dematerialization of design: A new profile for visual communication design.  

ico-D, 8 November.  

 

Fuad-Luke, A. (2009). Design activism: Beautiful strangeness for a sustainable world. Routledge. 

 

Gibbons, S. (2018). Journey mapping 101. https://www.nngroup.com/articles/journey-mapping-101/ 

 

Hollingsworth, S, & Dybdahl, M. (2007). Talking to learn. The critical role of conversation in narrative 

inquiry. In D. J. Clandinin (Ed.), Handbook of narrative inquiry: Mapping a methodology (pp. 146-176). SAGE 



 

13 

Publications. https://dx.doi.org/10.4135/9781452226552.n6 

 

IDEO. (n.d.). Design kit. https://www.designkit.org/resources 

 

Lunt, P., & Livingstone, S. (1996). Rethinking the focus group in media and communications research. 

Journal of Communication, 46(2), 79–98. https://doi.org/10.1111/j.1460-2466.1996.tb01475.x 

 

Lupton, E. (2002). Skin: Surface, substance, and design. Princeton Architectural Press. 

 

Lupton, E. (2017). Design is storytelling. Cooper Hewitt. 

 

Metzger, N., & Woodley, A. (2010). Report on giving, receiving and seeking help: The Campaign for Action 

on Family Violence. Centre for Social Research and Evaluation/Te Pokapū Rangahau Arotake Hapori. 

https://tinyurl.com/32u97e9r 

 

Mohan, M. (2020, June 12). Coronavirus: Domestic violence increases globally during the lockdown.  

BBC News. https://www.bbc.com/news/av/world-53014211 

 

New Zealand Family Violence Clearinghouse. (n.d.). Frequently asked questions. 

https://nzfvc.org.nz/frequently-asked-questions 

 

New Zealand Family Violence Clearinghouse. (2020). FAQ part 1: Understanding the impacts of COVID-19. 

https://nzfvc.org.nz/covid-19/FAQ-part-1 

 

Nowell, L. S., Norris, J. M., White, D. E., & Moules, N. J. (2017). Thematic analysis: Striving to meet the 

trustworthiness criteria. International Journal of Qualitative Methods, 16(1), 1609406917733847. 

https://doi.org/10.1177/1609406917733847 

 

Point Research Ltd. (2010). An innovative approach to changing social attitudes around family violence  

in New Zealand: Key ideas, insights and lessons learnt: The Campaign for Action on Family Violence. Centre 

for Social Research and Evaluation/Te Pokapū Rangahau Arotake Hapori. https://tinyurl.com/3dfsr4t6 

 

Polaschek, D. L. L. (2016). Responding to perpetrators of family violence. New Zealand Family Violence 

Clearinghouse Issues Paper 11. https://tinyurl.com/mpcabx56 

 

Roguski, M., & Gregory, N. (2014). Former family violence perpetrators' narratives of change: Prepared  

for the Glenn Inquiry. Kaitaki Research and Evaluation. https://tinyurl.com/4xdtjk39 

 

Snegirev, M. (2017). A relational approach to men’s non-violence groups: A thesis presented to the Board 

of Examiners of the Australian and Aotearoa New Zealand Psychodrama Association Incorporated in partial 

fulfilment of the requirements toward certification as a psychodramatist. https://tinyurl.com/yyhuvfjs 

 

Yuille, J. (2017). Grokking the swamp: Adventures into the practical abyss, and back again. In L. Vaughan 

(Ed.), Practice-based design research (pp. 199–209). Bloomsbury. 

 

Zino, I., Nakarada-Kordic, I., Smith, V., & Reay, S. (2021). Things for thought – a creative toolkit to explore 

belonging. Design for Health, 5(1), 82–97. https://doi.org/10.1080/24735132.2021.1883822 


