
RESILIENCE OF BLUES MUSIC
A project to revive Ealing’s blues heritage through community collaboration and playful, cross-generational experiences.
YEAR
2025/02
Role
Designer
Category
Service design/Product design
DESIGN AT
Royal College of Art
TEAM
5 people



Ealing’s cultural heritage exists, but is no longer collectively remembered or experienced by the community.
32
CItizen and musicians
2
Co-Design Sessions
3
Organizations

Key Findings
Blues are suit for self-expression :electric Blues is a powerful tool for
self-expression and can serve as a shared language for local residents.
Invisible to younger generations: Electric Blues having limited
presence on mainstream platforms like social media and streaming services,
the genre has become increasingly invisible to younger generations.
Older musicians have deep knowledge of electric Blues but lack accessible
ways—beyond festivals or record shops—to connect with younger audiences.
Outdated and ineffective promotional methods:.Ealing boasts rich cultural sites tied to Electric Blues and rock, yet their
potential remains untapped due to a lack of attention, activation, and outdated
methods of promotion.




We designed a low-barrier community activation system to reactivate Ealing’s blues heritage through lightweight interaction and co-creation mechanisms.






After the project ended, we began to reflect more deeply. We realized that without sufficient funding, our initial proposal would be difficult to implement. This led us to reconsider:If we wanted to create visible, tangible impact with limited resources, could we intervene in a more lightweight and accessible way?
A visit to a local exhibition sparked a new idea:What if we curated an open-call exhibition inviting artists to explore and revive the story of Ealing Blues? This approach allowed us to bypass heavy logistics and directly leverage our

most valuable asset — the creative network we already belonged to.
We drafted several concept proposals and arranged a discussion with Alistair Young. Eventually, we decided to focus on one culturally symbolic object in the UK: the memorial bench.
Memorial benches are a unique part of British public culture. Donated by loved ones in memory of someone who has passed, these benches carry engraved plaques that tell personal stories. Many legendary musicians even have their own benches. These aren't just seats — they are vessels of memory, emotional connection, and urban identity.
We wanted to build on this idea by designing an interactive public experience that invites people to sit down, reflect, and reconnect with the spirit of Blues. While the genre may feel like a thing of the past, its soulful essence — freedom, authenticity, and emotional expression — remains timelessly relevant.
In the end, we concluded that the most feasible and impactful approach was to deliver the project in a simple, accessible way—activating artists and using a memorial bench as the medium to narrate the story of Ealing Blues, inviting the community to interact and feel its spirit.
Outcome 2- Seated in the sound
We propose a mobile, interactive sound-art installation for the Ealing Blues Festival titled "Seated in the sound : Music Meets Migration." Inspired by Ealing’s iconic role in British blues history, this project maps the evolution of blues music through a series of uniquely designed “music chairs.” Each chair is not only a historical symbol but also a participatory sonic object, celebrating the cultural layers of Ealing’s migrant communities, youth identity, and sound memories.

Result and reflection
Through the implementation of the Ealing Blues project, I experienced the inherent tension between an imaginative vision and the friction of reality. This journey taught me a humbling lesson: the power of design is limited if it exists in a vacuum. We must design for organizations, rather than for the sake of design itself. If given the opportunity to iterate, I would pivot from external intervention to internal empowerment—deeply embedding within the Ealing Club to help them activate their inherent assets. The goal is to transform them into a self-sustaining, innovative organism; only then can the impact of design be truly regenerative and continuous.
Furthermore, I have refined my understanding of cross-organizational orchestration. While our initial ambition to align the Ealing Council, Blues organizations, and schools in a co-creation ecosystem was visionary, it also revealed a certain naivety regarding the complexities of funding and inter-organizational incentives. I now realize that sustainable change begins with uncovering the latent value within a single focal point—the Ealing Club—to solve internal problems that offer long-term ripple effects.
The final, and perhaps most vital, lesson is the 'Power of Simplicity.' I’ve learned that the more elegant and low-cost a design is, the more likely it is to be adopted in the messy reality of daily life. I once feared that 'simple' meant 'under-designed,' but I now understand that minimizing implementation costs and maximizing resource mobilization is the ultimate form of design sophistication. True design impact is measured not by its complexity, but by its ability to live and breathe within the constraints of the real world.



