This week I read Zoe Scaman’s latest report on communities; there probably aren’t many (if any) people paying as much attention at the intersections behind brands, agencies and whatever community is in these conversations today. If that’s your bag, do check it out.
It did spur one particular thought in my mind; are we still missing the macro scalability piece? What happens when everyone does this?
Back in 2009, I published a thesis at the end of the IPA excellence diploma, entitled ‘The Communis Manifesto‘. The abstract neatly sums it up, as you’d hope:
“The brand communications which evolved in the mass media era are becoming more and more ineffective at changing peoples’ perceptions of companies and brands.
The connections people make and communities they form nowadays are increasingly where they source their information; people are influenced most by people and communities.
I believe that the future of brand communications lies in finding a way to become part of communities, and communicate with them in a way that is shared, participatory and reciprocal.
In this way companies can affect peoples’ perceptions of them, and make all of their brand communications more effective”
What was interesting, when I reflected on it for the Nick Kendall’s book celebrating the diploma (What is a 21st Century Brand?), was that I only thought in the micro scale.
Individual examples, plans for how a single company might do this, etc.
It largely misses the macro implications of trying to do this when everyone else is too.
The cognitive burden on people trying to interact deeply, properly, with mutual benefit accruing all round, doesn’t yet stack up when you think about being a member of multiple communities.
People only have so much time to give.
The exhaustion of active participation across too many communities is a real life issue for many anyway, never mind adding in more in a digital realm.
Yet a different thought struck me this morning.
Might we perhaps begin to see technology companies offer an alternative use of LLMs (Large Language Models, or ‘AI’ in the current vernacular… that’s a whole other blog post).
“Let us be you for you”.
How could you train AI agents to act and participate in communities as you would, without you having to be there?
What continually updated information would it need to work well, to be a representative of you now?
Would you have a regular check-in with all of your different prosthetic selves?
The house-party protocol from Iron Man 3, if you will…
The most crucial question of that line of thought is how would people reconcile these agents as part of themselves?
Social media profiles are one thing; they’re an extension of a specific type of self, but there’s always-on, active decision-making for the most part.
Because perhaps the most interesting part of Zoe’s presentation is her description of the societal shifts sparking this interest. Increased isolation, polarised discourse, generations set adrift from the established order of things.
It feels pretty bleak out there for a lot of people. How would having to manage even more of your prosthetic selves in that world help you find belonging?
Just because we can, doesn’t mean we should, etc etc
I’ve been in London and Brighton recently, getting back out into the world. I’ve been uploading a bunch of pictures over here on Flickr, just gathering a bunch ofthings I’ve noticed in the layers of these places. It’s not ‘the new normal’, but a walk through a city today can be instructive in terms of what forms of renewal are taking place.
One interesting experience in particular was Leather Lane yesterday in the sun.
Formerly a fashion stall street (hence the name, and vestiges of which still persist), for a good while now it’s been home to a stretch of pop-up food stalls, coffee shops, restaurants and more. Perhaps as the food scene in London grew, it squeezed out the fashion stalls to some extent.
Leather Lane at this moment is an interesting living example of how thinking about the layers of social and material cultures (à laZenko Mapping) can help you to spot interesting things in environments.
Take this example, the seemingly closed Chick (a falafel and schnitzel place; I’ll let you work it out…). I’d eaten there a couple of times maybe in the past, so it grabbed my attention when I saw it was closed.
Of course, Leather Lane has never been that short of Falafel stalls. Indeed, as the lunch crowds have started to come back, there’s a Falafel stall right in front of where Chick was. It’s not that unexpected, really; there’s known demand in the area, and it’s a fairly easy and versatile sheet food. You just need to quickly cook one type of thing, then serve it up in a variety of ways with wraps, salads, and so on.
In uncertain times, I suppose having an on-street food license is much lower risk than taking out a lease on the building behind. And with lower overheads comes more experimentation, as it means people can be quicker to jump on trends.
It’s notable, for instance, that on the sign they make a point of these wraps being vegan. Maybe all falafel wraps always were, but it’s now just a better thing to lead with as more and more people turn vegan.
However, just across from the vegan falafel stall was an Argentinian steak place. Mortal enemies of the Vegan Falafel Gang, I’m sure.
But looking closely at their stall, I spotted… well, can you spot it?
That’s right, you’ve got it. It’s an old napkin tray from Chick, the closedfalafel place across the street.
How did it get here? Did any of the crew setting up the Argentinian Steak place used to work at Chick, and take it on the way out? Was it left on the street as part of a clear out? Was it stolen by a drunk customer sometime in March 2020, and left in an alley?
The answer is: ‘we don’t know’. But we might find out more by asking people.
Observations from the environment, moving through the layers from hundred-year-old restaurant buildings to branded napkin trays can only get you so far. They’re certainly a good hint for where interesting stories may lie. But the social layers that overlap with the material will offer richer, deeper insights.
Who’s running the stall? Who owns it? How long have they been working on Leather Lane? How well do they know other stall holders, or customers? Is it the same customers who came before, or new ones? Are they still working in the same jobs? Are they in London as much as they were?
Spot things. Ask people questions. Repeat. And you can even grab a falafel whilst you do it.
This week, I gave a talk (with a little bit of workshopping) as part of the third module of IPA Excellence Diploma. This was a course I did back in 2007/8, and without doing it, I probably wouldn’t be doing what I do now, and definitely wouldn’t be thinking about things in the way I do.
It’s never a substitute, but people have asked if I’d be sharing the slides, so here you go. Just imagine that when you get to the ones that make no sense, I am in front of you saying something really profound. Ignore that pesky internal voice of yours that questions that how likely that would be, and just go with it…
It was an honour to be invited back by Amelia and Sera from The Fawnbrake Collective, who have taken over and reimagine dates course for the 2020s. Yet it feels like a gift, because being asked to reflect on 12 years of making / thinking and spot patterns in your own process has given me a view of my own work I’d never have seen otherwise. We alway look at the mountains ahead, rather than the hills behind.
I’ve noticed that there’s a fascinating little exchange at the end of the Ocado process. After you’ve received all your shopping, the delivery driver will ask ‘have you got any bags to return?’. It’s the bag recycle scheme they’ve been doing for a few years, where they give you 5p for every bag you give them back. After you hand them the pile, they ask ‘how bags do you think that is?’. You then say a number – you might know, or like us you might guess.
‘About 12?’ I offered today. “Ok, I’ll call it 20” said the driver, and off they went.
And it’s not just one or two drivers in particular that rounds up the number in this manner, but all of them. It’s so consistent, in fact, that today I started to wonder if it was designed as an exchange, as part of the service.
Because it’s such a simple, generous idea, to leave a customer at the end of the interaction feeling like the representative in the company has just given them something back.
It’s not really about the amount, the 40p extra refund. It’s the gesture that makes it work. And the fact that it’s a gesture from a person, rather than a discount figure that appears on an app, powered by an unseen algorithm. In comparison to other service companies who send people to your door, that projection of autonomy in the job is interesting.
During Natalie Kane’s presentation on the IED Innovation and Future Thinking course last month (yes, I will write something up, promise), she showed the class this, the Amazon warehouse picker wearable. It’s the antithesis of autonomy in a job – it is telling you what, where, when, and how, and your only job is simply to comply.
What struck me as the class was discussing it was that, yes, this is a wearable, but not in the way that you think. It’s not a person wearing a device, it’s an algorithm wearing a person.
Yet if the Ocado ‘how many bags?’ exchange is ‘designed’ and instructional in some way, then it’s merely just the allusion of autonomy. Is this worse in some ways?
The first book is a super useful read, a manual to keep dipping in and out of. In fact, I have it in my bag now, as I’m rapidly scanning everything I can to get further into the deeper backstory of John Boyd’s OODA loops for various projects.
Like many folk, I’d perhaps only scratched the surface of OODA. I started using in in workshops and teaching back in 2015/15, but only lightly as part of the metamechanics collection, basing work on the elements of movement, maps, loops and layers which help people think about their work using the qualities and power of information in the internet age, rather than fighting against it.
But in wanting to delve deeper into the OODA loops, I found this, which contains Boyd’s original 327 slide briefing document, and an introduction from Dr Grant T. Hammond, in which he writes…
“In introducing the 327 slides of “A Discourse on Winning and Losing,” I am hesitant. Boyd’s briefings were never meant to be a compilation of doctrine or dogma about how to fight and win wars. They were meant to be conversations between him and his audiences.
He never gave a briefing in which he did not learn something. He might have poorly conveyed a particular idea or skipped a step in the logic trail. Alternatively, perhaps, he forgot something or someone had added to the examples he used, the references he had consulted, or provided a different interpretation that he should have considered more deeply.”
“He could not bring himself to publish anything because it was never complete. Coming from an essentially oral culture of briefings in the military, Boyd put carefully chosen words on view-graphs, but never in print. The “Discourse” was an unfinished conversation with each audience, part of a perpetual learning experience. He learned every time from each discussion with his audiences, and this necessitated changes for the next iteration. There was a succession of unfinished OODA Loops.”
I’m totally going to use this as my excuse for not writing books from now on.
Firstly, because I believe it; all of the various theories, models, tools and so on that have developed over eight years of Smithery are not ‘finished’; they work differently every time, and are contextually powerful because of that, and always send me away thinking new thinks.
And secondly, because from the outside, writing books looks hard and often joyless, and my hat goes off to all those who do. I look forward to reading them all.
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’sMental Notes. Unfortunately, I don’t think they’re on sale any more, so you either have them or you don’t.
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.
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.
“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.
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”…
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?
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.
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…
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…
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).
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?
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&L – Read 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.
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.
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 UniversalAgility 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).
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.
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.
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.
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?
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.
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.
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.
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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