• The Pattern Problem

    On: September 6, 2017
    In: design, material culture, people, work
    Views: 572
     1

    I was delighted when Neil Perkin invited me back after six years to speak again at Firestarters last night. The theme of the evening was on behaviours.

    Richard Shotton was up first, and gave an excellent talk on three of the lesser known biases in behavioural sciences. In particular, I was interested in one of his assertions at the start that there are a whole collection of biases that are at play, yet there are probably more famous ones which everyone is aware of, and a whole set people are less familiar with. Perhaps there’s a long tail – the three that everyone knows, and then it all tails off a bit?

    It’s occurred to me since last night that perhaps there’s a way to think about this whole ‘collection of biases’ not as a set from which you choose one that you believe is having an effect, but as a card sorting exercise in which you identify all of the ones that could have an effect for different people, and work out ways to test them against each other.

    Maybe it’s about curtains an ‘assemblage’ of biases around the problem you’re working on, and pulling out the overall effects and implications of many things being at play. (If you want a crash course in Assemblage Theory, read this by Manueal DeLanda).

    There is a perfect toolkit to do this sort of thing, in Stephen Anderson’s Mental Notes. Unfortunately, I don’t think they’re on sale any more, so you either have them or you don’t.

     

    **UPDATE**

    Stephen’s bringing back Mental Notes, with expansions in mind… follow him on twitter for more updates on that soon.

    ****

    But I’ve recently become aware that Jerome Ribot has been working on something called Coglode, and has a really useful set of cards (potentially, I’ve not seen them, just pictures) called Nuggets – you can sign up here for news on them.

    So thanks Richard, that talk really got me thinking.

    Then I talked about a thing from the Smithery canon, The Pattern Problem. It’s more related to behaviours in the sense it’s about how we work on projects, and help clients think about working on projects too.

    There are two tools in particular I talked about as ways of breaking away from endlessly repeating the same process no matter what the problem you’re facing. They are ‘The Obliquiscope’ and ‘Zenko Mapping’, both of which are designed to grow and change as you use them, so that they’re never the same tool twice.

    The Obliquiscope

    Zenko Mapping

     

    All of my slides from yesterday are up here, though of course they’re probably of most use to the people who were there last night and want to reflect a little on some of the ideas in here:

    I’ll probably be talking about these concepts in other places soon, though, so will make mention of that on here when I do. Thanks again to Neil, Richard, everyone who came along and to Google for continuing to support Firestarters.

     

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  • The Chair Game – Live at the V&A

    On: April 12, 2016
    In: culture, education, people
    Views: 3021
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    This is the year of The Chair Game“, I said to Rob, over a pint after an evening’s play in London Bridge. He’d just spent two hours running the game for all of us who were new to it, save for Clarisa.

    It was her fault, apparently. She’d been in a workshop Rob was doing where he’d used The Chair Game as an exercise. “If you run a workshop that’s just The Chair Game for hours, I’d come to that” she told him. Hence London Bridge. True to her word, Clarisa flew over from France especially for it.

    The Chair Game is pretty simple. Everyone has a chair. They’re randomly distributed around a space. One person gets up, and walks to the side; they’re the chair zombie. They have to amble towards the empty chair. It’s everyone else’s job to stop them by sitting in the empty one. They can’t block them, but they can run as fast as they like. But once they’re up, they’re up – they can’t sit back on the same chair.

    Chaos ensues…

    Mexico - P1090203

    The first round is always really quick. Like, six seconds as an average. Then you ask the players what went wrong? And what their strategy next time should be. And you go again. And again. And again.

    It’s a game that is about strategy as much as you want it to be. You can stop, analyse, plot and plan, instruct and act. Or you can just play. It is compelling to watch, and addictive to play. Since learning about the game, I’ve been building it into various strategy workshops as part of the narrative, and prototyping workshops as part of the fun. We started calling it Karaisu, for fun – like karaoke; Japanese* for “Empty Chair”…

    Karaisu

    Another thing happened after the night Rob showed us the game.

    James was there, and James works at the V&A in London. We joked on email that we should play it on all the very expensive chairs at the V&A. Ho ho ho. Wouldn’t that be a lark?

    Two weeks later, James emails again. We’re on. Not on the expensive chairs. But at the V&A. As part of the Performance Festival. Look, we’re even listed on the site.

    We’re playing next week, on Friday 22nd April, 1:45 meet-up for a 2pm start. We’ll be in the John Madejski at the V&A in South Kensington. We finish at 4pm, and then head to a pub to unpack what goes on.

    And we need some more players.

    If you are around, and fancy it, then please sign-up here. We need around 30-40 players. Send this on to anyone else who might fancy it too, and we’ll send confirmations out next week.

    So sign up, and come down and play.

    Because this is the year of The Chair Game.

     

    *I checked with a Japanese friend – it kinda doesn’t mean this, but also kinda does.

     

     

     

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  • “The best for the most for the least” – 2016 Projects

    On: January 10, 2016
    In: culture, design, economics, making, people, rivetings, work
    Views: 5242
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    Every year, we set three internal projects for Smithery; things we want to work on that will improve our own practice, be fun to explore, and originally to occupy a little downtime too. As perhaps evidenced by the performance on last year’s projects (see 2015 project write-up), we seem to have a bit less time nowadays to purposefully muck about.

    Firstly, some of that is down to workload; we’re working on more complex, nuanced, interesting problems for clients. They’re more compelling to get readily lost in, to wander through and wonder about. We’re doing the sort of projects I started Smithery for.

    Secondly, a lot of the things we do as part of projects nowadays perhaps take the place of the more makery stuff we used centre some personal projects around. Adopting various things into our approach, like the principles from Seymour Papert’s Constructionism, means that more often than not we have ‘a thing’ in the middle of the table to facilitate discussion, design and direction. We make things all the time.

    And perhaps thirdly, the internal projects have served as useful proof-of-concepts, and in pointing to them (and subsequent clients things) we are asked to do more things like those. Getting paid actual money for things you really like to do anyway is always nice.

    I talked a while ago about ‘The Blacksmith’s Sign’; a beautiful wrought iron sign that hangs from a post, an ornate piece of communication about the type of work done within. People would see the sign, and think ‘ah, there’s someone who could help me with X…’ and another client was secured. The client didn’t want a sign, of course. They wanted the skills that created that sign. In some way, that’s what some of the Smithery internal projects have been about, wittingly or not…

    In the light of all this, we’ve been thinking a lot over the holidays about the right internal projects this year, and how after four years they might change focus a bit, beyond just thinking of ourselves.

    ‘Internal projects’ seems a little small. We have decided we want to be a little more ambitious in how we make the projects as useful as possible beyond our own walls. Stealing an idea from Charles & Ray Eames, how do we use the projects to deliver “the best for the most for the least”; to create really useful outputs from the projects, which can offer greater value for more people, making the very best use of the resources we have available.

    With all that in mind, here’s our three for 2016.

    There’s a What, a How and a Where

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    1. WHAT – Strategic Design Unit

    What is Smithery? Ah, the perennial question. The original answer was long and uncertain, as proved by the thing I must’ve written when asked by Campaign on leaving PHD:

    “…called Smithery, the business will look to work with clients on brand and service innovation, community initiatives, crowdsourcing projects and marketing and media strategy.”

    About a year in, and after I’d reflected on the actual work I was doing, it become “an innovation studio” (after a German magazine called PAGE called it that). Formulating “Make Things People Want > Making People Want Things” helped explain what it was about.

    What about now though? Smithery has always been centred around innovation; an inheritance of the previous role I’d had for five years, a comfortable legitimacy.

    But increasingly, looking at the work we’ve done over the last twelve months, that’s not the right definition anymore.

    It’s harder to see what I thought innovation was looking at how it’s used everywhere now. As a term, innovation is at risk of being meaninglessly overused and abused. In too many cases, it just means ’slightly better than useful’, or ‘the things we do to hide the day job’. It is hard to discern what it is someone’s actually talking about when using the word. It is a fat, unhelpful descriptor, just like digital became before it. I find myself having to go through layers of conversation with people when they say ‘innovation’ to find out what they actually mean

    you keep using that word

    Which is partly what the system we’ve developed around our practice is a reaction to, I think.

    Rooted in the gearbox idea from Smithery 3.0 in 2014 (around Stewart Brand’s shearing layers), the system uses four complementary realms, and in particular their relationship to each other, to help us define what sort of job we’re actually looking at. Or at the very least, helps state the question that everyone at the start of the project thinks we’re trying to answer (it usually changes, but that’s another story).

    Screen Shot 2015-12-31 at 10.56.08

    None of the realms are described as ‘innovation’, of course, and you can’t describe everything we do as innovation, either in our own understanding of it or that of others. So if Smithery isn’t an innovation studio, what is it?

    I went back through the bookshelves to find some clues, and I picked up Dan Hill’s “Dark Matter and Trojan Horses: A Strategic Design Vocabulary” again.

    Dark Matter and Trojan Horses

    DMATH is a terrific read, and in reading Dan’s post about it, which started from Dan’s talk at the first Laptops & Looms, which itself was an important experience for me, as I found myself at it barely a month into starting Smithery at Toby & Russell’s invitation.

    L&LRead Adrian’s take on what it was, if you don’t know, which is a) great and b) links to lots of other reactions to it, as all good rabbit holes should.

    But it’s only in reading DMATH again, in context of the last eighteen months of work, that I’ve started to appreciate what Dan is really getting at, from a practitioner’s perspective, when talking about Strategic Design.

    Rather than trying to design specific solutions, and ones constrained by the same silos that create previous failing ones at that, Strategic Design bridges disciplines and departments within the organisation as currently exists, and seeks to change the cultural, political and social factors which prevent necessary change; the hidden things, the ‘dark matter’ the title refers to.

    Another thing I’ve been reading (for the first time) is John Harwood’s The Interface, an exploration of the seminal IBM Design programme led by Eliot Noyes (who brought in Charles & Ray Eames, Paul Rand, etc), which transformed the business starting in the late fifties. What you realise from reading the stories back is just how much the politics and the social structures that Noyes & Thomas Watson Jr (his client, and new IBM CEO) navigated their way through were part of the design project.

    P1080135

    I could keep going in, but in this first week of January though, I’m very aware that there’s a lot more to research, and this is just the setting out of our stall. What other examples and takes on Strategic Design should we appraise ourselves of? This one? These folks? Does it really match up to the system we have? It does feel, on the surface, like what we’ve been working on with Smithery (somewhat unknowingly to an extent):

    Exhibit A: We’re working with an innovation team from one end of the business, as well as the sales team from the other end. Rather than waiting three years for innovation to hit the front line and change the organisation, we’re helping them create and deploy the ideas and constructs immediately to make a difference for their customers.  Building conceptual and functional platforms and methods upon which they create things together. It’s a long, investigative journey of researching, prototyping, talking and observing. Developing a feel for the rhythm of the organisation, things we can see, things we can’t. What results is a field kit, a box full of the future, in many different iterations, that the sales team can use with clients to scope out problems together.

    Exhibit B: We were asked to put together a ‘War Game’ for a global strategy team last autumn. They were bringing together the thirty strategic leaders from across the globe, who don’t see each other that often. The brief time they have together is valuable. Traditionally, ‘War Games’ are long extrapolations of one scenario. And it’s a rational thing for global strategy teams to ask for. No one gets fired for asking for a war game. But in rooting around in what the problem actually was, they wanted their people to become better at reacting to unforeseen circumstances. So instead of running a long game of ‘Risk, one long, exhaustive scenario, we designed a card game, more ‘Poker’ (multiple, recombinant, rapid scenarios). Instead of one scenario, we build 21 in three hours. But we only build half the deck; half are blank, for the client teams to create their own additional and variations in the future. In a sense, rather than just create a fully formed thing for one experience in the business, we made a half-formed thing they would take back home with them, and create their own experiences with.

    In both these cases, of course, it wasn’t just us. We pull together ‘units’, small specialist teams to work on these things, according to the task. Sometimes individuals, sometimes wee groups of people from other companies. But importantly, I think, people from the inside of the client teams too. It’s less about building units for people, but building the units including people.

    So the WHAT project is this: What Is A Strategic Design Unit?

    WBB (Why Bloody Bother?) In these first fresh weeks of 2016, inhabiting a new way of seeing what we do is something to test out. Then with further reading and reflection, we’ll be experimenting and investigating what it takes to be a “Strategic Design Unit”.

    WDG (Woolly, Doable Goal) – Working out what Strategic Design means for us, how we describe ‘strategic design units’ helpfully for others, and creating an artefact of our investigations (writing a guide on how we get on to publish,  a white paper, or something). The best articulation we can create, available to develop and build on through creative commons, that asks the least from others and ourselves in order to take the most from it.

    ————————-

    2. HOW – Universal Agility Map

    I’ve lost count of the number of times I’ve sketched the thing below in the last year. Using the same axes of ‘people’ and ‘things’ as the system above, it’s nine-box variant for appraising what you should do next on a project basis. If the four box system model is the what, then this is the how.

    P1080136

    Very simply, you start projects in the bottom left, work quickly with a small team, then work out what to do next; Improve or Share. Go out to the right to share with more people, taking what you’ve got into qualitative, then quantitative ways of testing what you’ve made, before you spend all your resources making it better. Go up to improve, and make a better version of what it is you’ve come up with as a team.

    As a simple instruction, ‘improve or share’ shares a lot from modern, iterative working, but there’s some additional things in there too.

    For one, it’s non-judgemental. There is no right and wrong in the approach. Instead, it simple demands that you ask yourself, as truthfully as you can, what the most appropriate thing to do is. For another, it allows you to perceive the empty spaces in the process, and think about where else you might have taken the project, had you chosen to go there.

    There’s more detail on what this method is here, but in short it’s about using a design process that isn’t wedded to time. Time doesn’t sit on the X axis of the two-dimensional model, so therefore the emphasis is not simply on moving from left to right. It’s like a self-directed version of snakes and ladders for projects.

    The more we’ve used it ourselves, and talked about it to other people, the more it seems useful in situations as a way for other people to think about the way they work.

    We think it might be a Universal Agility Map.

    The idea that it’s a map, specifically, came from an afternoon we spent hanging out with Ella Saltmarshe and Tim Milne, reflecting on a project each of us had done and mapping the out across the grid, plotting points according to the action we’d taken at each stage (improve/share).

    P1030156

    Then the best bit, which was Ella’s idea for the session, was to then think about how it felt at each stage of the project, and to map those feelings on too. We got to some really interesting ways of describing the territory through this.

    For instance, if you only keep improving something, without sharing it with others, it gets harder to share it eventually and take all the feedback on board at once. It’s like a mountain range that’s easier to cross when you’re further south in the foothills, but the further north you go, the higher and colder it becomes to make it over the mountains.

    If you only talk about and get input and data about a project, on the other hand, and never use any of that to make significant steps on, you get lost in ‘the forests of constant chatter’… you never get anywhere as you’re lost in the reactions of what you get from external sources.

    P1080142

    All of this is something we want to work on more this year, and make something that people can take for themselves and use as a way of improving their own working process.

    The HOW project is this: How Do You Use The Universal Agility Map?

    WBB (Why Bloody Bother?) We’ve found it really useful. We think other people will find it really useful. How we communicate the value we’ve found in that will be a good challenge for us (we’ve spent a year on it, surely it doesn’t take that long to learn), and beneficial for others.

    WDG (Woolly, Doable Goal) – Work out a way to teach it to people. Then teach it in person, at places where I teach already, like IED Barcleona & Google Squared, and in new places too. And, just maybe, create an artefact of the method too, so that people can teach themselves. Our friend Tina does a wonderful range of maps already, we should talk to her…

    ————————-

    3. WHERE – Perpetual Spatial Ranges

    The book I recommended most to people last year was Prototype, edited by Louis Valentine. It features a cornucopia of different takes on what prototypes are, written by practitioners in quite different spheres. It’s from 2010, rather than being from last year, but when I stumbled across it, I loved it from the off.

    P1080140

    One of the ideas I kept coming back to was from an essay called ‘Prototypes as a Central Vein For Knowledge Development‘ by Pieter Jan Stappers, in which he references ideas created during a PhD by dutch designer Ianus Keller.

    Keller proposed that there could be ways to set up working environments for people engaged in prototyping which bring together what they are working on immediately in their hands, what is close to them on the table, and what they see in the environment in line-of-sight.

    The bodily interactions in design activities can be divided into three spatial ranges, each serving different cognitive functions” as the essay puts it.

    P1080139

    The simple idea of the ‘spatial ranges’ gripped me, partly because of the Artefact Cards work over the last few years (which starts at the precision range, then stretches into the layout range), but partly because I’ve always been fascinated at exploring the spaces we all work in (effectively and not).

    The Atmosphere range is one I personally think we at Smithery should concentrate this year on understanding more, and linking back to the other ranges. We’ve also been working these last six months on a fascinating ‘Future Of The Workplace’ project with a client, which we should be able to say a lot more about soon, I hope.

    It’s not just a way to think about the way people work when in particular set-ups (like Keller was exploring with ways of prototyping) but in every moment we work. Do we always pull things in from the precision, layout and atmosphere ranges when working, knowingly or not?

    Do we work in what we might call ‘Perpetual Spatial Ranges‘, three circles around us we should be much more mindful of? By considering these ranges, and understanding how they relate to each other, and what makes for good working practice for ourselves and teams, can we learn how to adjust and align the ranges, like a dance of working practice?

    P1080138

    When you start thinking about it in this way, you realise that in most work environments, the design of the spatial ranges aren’t that aligned. Team leaders, facilities managers, IT Departments, the board’s latest attempt at interior design… the number of different people taking unilateral decisions about the ranges soon stacks up, and perhaps damages or impedes the work people are being asked to do.

    So what to do about this, then? Well, we have, by chance, some projects lined up this year which have a lot to do with the realms in which teams work. How to design environments which are most conducive to the sort of work you want people to more readily and easily produce. We might also explore our own working environment more, and set up an experiment of working practice that plays on these ideas.

    Finally, then, the Where project is this: Where can you see Perpetual Spatial Ranges at work?

    WBB (Why Bloody Bother?) From the 2014 work based on the Stewart Brand shearing layers, it’s been really apparent that the spaces in which people work are part of the domain of trying to solve the problems we’re asked to. This is the year to get to grips with that properly.

    WDG (Woolly, Doable Goal) – Find a place to show people what we mean by Perpetual Spatial Ranges, whether it’s a place we work in, or someone else works in, or one we’ve designed for someone else for a specific purpose. Then, perhaps, run a tour of the space…?

    ————————-

    There we go then. That should keep us busy, but hopefully in a way that creates more value for more people. We’ll see at the end of the year in the wrap-up.

    Here’s to 2016.

     

     

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  • Conceptual Strategy for Intranets

    On: September 17, 2015
    In: artefactcards, people, technology
    Views: 2632
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    I know, that’s a rock and roll blog post title, eh?

    A short video, explaining something that Chris, Mark and I worked on a while ago for a client, but that came back round again today when someone asked ‘any thoughts on setting up intranets?’. Rather than a long blog post, or a detailed email, I made a scratchy video…

    …using the webcam/lamp stand thing I hacked together a while ago.

     

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  • Where Does Responsibility Lie?

    On: June 16, 2015
    In: culture, people
    Views: 2370
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    (A foreword, in the style of Samuel Pepys)

    Late to bed, but not before receipt of an electronic mail from Mr. Fitzpatrick of Boston, a most good-humoured fellow of curious and sharp intellect, to whom I promised action of a distributary nature come the morning.

    He asks for assistance in the pursuit of data for an ongoing pursuit of where in a company ‘responsibility’ does reside.

    I made plain my own interest in his endeavours, and did promise to avail my friends and associates of his intent. I republish his letter in full, so as not to vex the reader further…

    I’m working on a new study on the accountability for the role of customer experience within the modern organization, and I’m looking to get some data that will help paint a better picture of where that responsibility lies and how it’s measured/used. At present, there’s not much usable/useful data on the topic.

    In the interest of casting as wide a net as possible, I’ve put together a quick Google survey; found here: http://almty.co/cx that I’d like to put in front of a few hundred members of large organizations.

    I’m hoping that you can help put this in front of people I’d otherwise not reach.

    I’d appreciate any help you could provide in sharing the link with anyone you know within a large enterprise organization, and inviting them to share it with others (multiple responses from the same org are especially helpful in this process). I’m aiming for as broad a cross-section as possible: junior/mid-level/senior, marketing/HR/product/engineering, etc.

    It shouldn’t take anyone more than 2 minutes to complete. It’s completely anonymous, and no one will ever be contacted, nor will the company they work for ever be directly referenced.

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