I was very excited to be invited to Oslo to give the final keynote of the Webdagene conference. It’s one of my favourite cities, and the speaker line-up was immense too – you should check out all of the talks.
My talk was an updated version of the Metastrategy idea, with cleaner entry points into the theory, and an extended practical back-end. Please enjoy, and as always questions, additions and thoughts in the comments below are most welcome.
I also ran a masterclass on the Thursday with a small group of people who’d signed up (apologies to those who tried but couldn’t get in, I might come back to Malmo to run it again) on using the ‘9 Box’ agility map as a springboard for metastrategy.
Using masking tape, we quickly made the framework to work within, and then populated with Artefact Cards to keep moving around types of work and activity and examine different potential routes through projects.
It’s set off a whole series of subsequent thoughts about working on the horizontal plane rather than the vertical too (in short, people are more likely to reach out and move things around; the tabletop seems to be ‘common’ space much more than walls do…), but I’ll think about that more and write it up.
And, of course, because it’s the year of The Chair Game, we played that at the end, to examine the nature of multiple strategies folding in on themselves, becoming appropriate depending on how the context shifts, and each deployment of a strategy changing the nature of the game and so therefore the next strategy needed. Scholars of The Chair Game will notice a new chair set-up tried by the players, which we shall christen ‘Malmo Rows’ I think.
Anyway, thank you again to all the team at The Conference for a splendid, splendid week. Whatever they do next year, get it in your diary.
“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.
The audio stream for my dConstruct talk popped up yesterday (thanks Drew), so I’ve put it together with a film of the slides to make a video. I’d have normally just dumped in the images and stitched it together that way, but the animation parts help bring some of the core concepts to life, I think, so it was worth filming. Enjoy…
Last Friday, I spoke at the final dConstruct conference in Brighton. dConstruct is a legendary conference, it was an honour to be invited to talk, and as a result I’ve spent most of the summer pulling together the ideas behind the talk. As a speaker, you’re meant to be ‘oh yes, all the talks I do are equally good’ and all that, but that felt like the best talk I’ve ever done. In a rubbish sporting metaphor, I left everything out there on the pitch, Brian…
The audio has been recorded, and I’ll share that/mix it with slides soon, but in the meantime I’ve written an annotated version for you to read:
Also, with the follow-up questions people asked about the ‘library’ part of the talk in particular (and creating a systems view of the world you work in), I’ve written a Medium piece on ‘How To Organise Your Library‘.
It’s a Tolkienesque appendix, perhaps – there’s no real need to read it to get the point of the story, but you might find something interesting or useful in there.
Anyway, thanks to the gang at Clearleft for the opportunity to grace the dConstruct stage, thanks to my fellow speakers who set my brain fizzing with new things, and thanks most of all to the audience, who were very kind about the talk in general and my ‘Russell Crowe as Jor-El‘ impersonation in particular…
I’m wearing new shoes today. They’re made by Atheist Berlin. They feel like hot chocolate for the feet.
Now, I’ve been following the Atheist story for a while, because I know David, Chief Atheist (is that a thing?) from when we did the IPA Excellence Diploma together some years ago (dates redacted to protect the aged). Indeed, it’s interesting to reflect on the number people from the IPA ExDip who’ve gone on to do their own thing; consultancies, accelerators, etc. The course clearly gives people a bit of motivation to do something differently.
But within that those who’ve made a thing. Making things is different from service industries. Not better or worse, just different. Another example would be Matt’s success withTwo Fingers Brewing. I make some card things you might have seen. There are no doubt more examples from diploma alumni too. And there are definitely lots of examples of ex-agency people who start making things instead of selling other peoples’ things. But it’s not just a few agency folk leaving uninspiring surroundings to play around at ‘maker’ (although Murat’s post from 2013 still hits upon most of the reasons why that happens).
There’s a cacophony of forces driving more and more people to start making their own things. Some are positive; access to funding of some sort (grants, investors, crowd-funding), the ability to use the internet to learn new skills and find an audience at the right scale. Some are negative; lack of fulfilling work, high youth unemployment, cost of higher education.
They all add up to interesting times for existing companies. Take beer, for instance. The number of breweries operating in the UK in the last five years has tripled. Yet beer sales in the UK remained in a long-term decline until last year, when they managed a 1.5% annual increase. All in all, it adds up to more suppliers fighting over less sales, and more interesting suppliers stealing share from less interesting ones.
This summer has felt like what started as an expression thing for the creatively minded has started to become a business thing for a lot of people. The conversations I’ve been having and become aware of are less about how brands can support makers do their own thing, and more about ‘what happens when they start to make our thing?’
Our culture has a new pair of shoes, and it’s starting to test just how far it can walk in them.
The desks are from the John Madin’s Birmingham Central Library, which has been stripped and is being demolished. They’re the original ones as designed by Madin to fit inside the library. We nabbed a couple when they were on eBay, after some smart soul had managed to rescue a few. We’ve managed to rescue a little bit of history.