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

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

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.

 

 

2015 Projects – A Romjul Review

It’s that time of year again; a review of the annual Smithery projects, as laid out here, and then start thinking about next year’s projects.

…….

**As a very early tangent, I realise why I’ve been pondering this in the days after Christmas, and before New Year – I love Lauren Laverne at the best of times, but in particular this week as in this piece she draws attention to the Norwegian term Romjul

“Romjul is the Norwegian word for the last week of the year. It has a name and its own specific set of activities and traditions, which help make the most of the holidays, but also bring a bit of balance and recalibration to the last few days of the year. There’s eating, obviously, and a fair bit of staying in, creating a cosy nest. It’s a peaceful time to hang out with family and friends, but it’s also traditional to get outside and take walks, and to spend some time reflecting on the year that has passed and what comes next.”

…sorry, worth sharing I thought. Back to the matter in hand…

…….

The Smithery projects have always been set up as something slightly apart from the client work, internal things I wanted to do that benefits how we work, that clients would ultimately benefit from indirectly. Last year was the first time there were two of us writing them (Fraser and I), but given Fraser’s halfway up a mountain at the moment, you’ll have to make do with me writing this review.

The projects last year were an alliterative little bunch; Practice, Play & Produce. Each had their own specific intro (follow those links), and of course their own objectives.

To quickly recap…

1PRACTICE

WBB (Why Bloody Bother?) – The aim of this project is to establish a shared language of practice for Smithery. As the work expands in scope, and the studio grows, having a common way to approach complex problems seems mandatory.

WDG (Woolly, Doable Goal)Define the axes properly, identify what Smithery offers in each quadrant, and write something on each of the 25 sub-sections to help orientate different types of work.

2 PLAY

WBB“Playing With Ideas” works when designing workshops, one-off experiences, and so on. But it feels like there’s scope to go further, to set up systems and games people can use themselves to be more productive…

WDG Work up three general versions of this so that other people can pick them up and use them without us being there to scaffold them into it. And make a version of one of them to sell to folks, either crowd-funded or direct.

3PRODUCE 

WBB “If you don’t make anything yourself you’ll never make anything of yourself” now this might not be true but I do think that only good can come out of trying to make something you have never tried before. Failing leads to learning and all that jazz. Also we can see how good we are at being the people who make things.

WDG What will we be making? We don’t exactly know, we aren’t ruling anything out, there aren’t any criteria for just now other than no pointless stuff because lets face it the world is already full of loads of useless crap. Stuff that helps people, has a purpose or evokes a nice reaction out of folks. We do know that we will be aiming to make something every month (MSEM) and that will be the minimum requirement.

 

So then… how did we do?

I’m going to address them in reverse order, and give them a score out of ten.

Produce was always going to be the most fulfilling to do, and hardest to achieve. One reason, perhaps, is that it’s harder to slot in the making of things in between client projects; it takes a mental shift sometimes to find the space to make a thing.

Another is, as Alex wrote in her excellent review of the Good Night Lamp year, making is waiting. When you’re making physical things which need some sort of scale, this is especially true. For instance, you design a version of something, then send it off… and wait days to see the prototype. It’s not like more digital forms of making, where you can form a more instant test-and-learn approach as you see the results of every change and tweak. And it’s also not like pure craft, where you’re making a one-off piece (a pot, let’s say), and you feel and see every shift in the material as you go.

Finally, of course, there’s Artefact Cards – we already have a ready-made (sic) production arm (albeit now a separate company), which we’ve been creating new products and things for all year. Sometimes it’s for Artefact Cards, sometimes collaborations, sometimes for Smithery client work (which I’ll blog about separately, next year, when I can).

P1070929

In hindsight… does this count, or not? Should we have been making different things? Or is it a useful platform upon which to make things to explore things with people.

I kinda feel that if we were to count all the useful, provocative things we used the cards for this year, we’d pass the criteria as set for the project with flying colours. There’s been at least twelve. Part of the discovery of this year was just how deep the whole card thing goes, which I talked about at Adaptive Lab’s Pi People event in September:

 

But there’s no point going soft on ourselves; this wasn’t the goal, as Fraser wrote about it back in January. To pass, we’d have needed much more non-card production, I think. So I’m going to state that it’s a 4/10 for PRODUCE.

Next up, PLAY. I was about to fail us on this, totally, but then I read the description again…

“Playing With Ideas” works when designing workshops, one-off experiences, and so on. But it feels like there’s scope to go further, to set up systems and games people can use themselves to be more productive…

And thought back to something that happened after my dConstruct talk (below)…

John Ellison at Clearleft took one of the games I mentioned in the talk, Popular Thing For Broken Thing, and wrote a brilliant description of the game as they put it into practice on a project – you should pop over here and give it a read.

That game, and others, we’ve played at workshops this year in a very diverse mix of places, from Barclays Capital to Google Squared to the Museums Association. All the games have one thing in common, perhaps; they’re not terribly hard to remember how to run. And if you get it wrong, then hey, that’s a new version.

In this sense, it’s all about what you leave behind, rather than what you bring. Giving people useful games to play with each other means, I think, they can be more productive when you’re not there. They’re also more likely to play the thing again, if it’s a fun, productive thing to do. It’s been a very useful way to create value this year for other people to take away.

However…

When I read the WDG again, it says ‘Work up three general versions of this so that other people can pick them up and use them without us being there to scaffold them into it. And make a version of one of them to sell to folks, either crowd-funded or direct.’. We didn’t do that at all. Hmmm.

In the strictest terms, we’ve failed. PLAY gets a 1/10. In hindsight, the aims are wrong, and I’m much happier as a result.

Finally then, PRACTICE

We started the year with a vague notion that the card you see at the top, those cartesian coordinates of ‘people’ and ‘things’, was a way to describe… well, everything we did. The very point of Smithery, when founded 4+ years ago, was to stretch right across organisations in order to solve the problems that really needed solving, not just iterate in domains long-past their sell-by date.

In this model, I think we’ve found it. It’s been tremendously useful and production on a weekly, if not daily basis, as a way to think about the type of project we’re shaping with clients, what stage things are at, what actions are most viable next.

There’s an extended post on the thinking behind it here, too (though I’ve stopped referring to it as the ‘Axes of Praxis’, a joke that lost its shine at some point…) – http://smithery.com/making/a-sonic-screwdriver-for-thinking/

What’s come out of it most usefully, I think, is the ability to clearly state what Smithery does (beyond ‘Making Things People Want > Making People Wants Things’), and why, and therefore what we would do at any given point for a client.

Screen Shot 2015-12-31 at 10.56.08

These four interrelated areas we think about are Design, Strategy, Prototype and Culture.

Prototypes are small things we do with small groups of people. When the thing we make together needs advancing, and the thing-thing is more important that the people-thing, we shift into Design. When we find that the wider organisation needs to shift in order to make the future successful, and the people-thing is more important than the thing-thing, we shift into Culture. And finally, when thinking about all of the people, and all of the things, we are operating at the Strategy level.

Then there’s a nine-box grid version too, which details out a project as it progresses, which makes for a really useful design process where time isn’t used on the X axis… I talked about that at UX London:

Overall, this PRACTICE section of the projects has been a real success – although I never did write 25 pieces about it.
For that slip, let’s go 8/10 for PRACTICE.
There we have it then, the 2015 projects in review, and just in time for Hogmanay too. We’d like to wish you all a very Happy New Year, and see you in a few days, when we’ll talk about the 2016 projects and the year ahead…

 

Metadesign For Murph, and How To Organise Your Library

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‘.
bookshelves
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…

A manifesto for leastmoderism

How can we do less? How can we have one client instead of ten? Work with five colleagues indeed of five hundred. Find customers who only want to buy once?

How can we have one car instead of two? Three bedrooms instead of five? Buy two, leave the third where it is?

How can we do this in a day and not a week? Write one sentence, say ten words, make one thing once?

How do we create the most value from doing the least we can?

More is less, more or less.

Wearing Culture’s New Shoes

I’m wearing new shoes today. They’re made by Atheist Berlin. They feel like hot chocolate for the feet.

P1050859

P1050860

P1050861

P1050862

P1050857

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 with Two 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.

 

dConstruct 2015: Metadesign For Murph

I’m thrilled and honoured to be talking at dConstruct this year. It’s one of the highlights of the year for me, and so many friends, that to be asked to speak there is… well, it’s a complex emotional melting pot, let’s say. It’s on Friday 11th September, and you can see all the details here.

The theme this year is Designing the Future. My talk is still in early prototype stage, of course. But you still have to have a rough idea what it might be, so it can go on websites and that. So here’s where I am at the moment… it’s gone pretty hard into using Interstellar as the main metaphor for how I think we need to address the theme… all thoughts on the film welcome in the comments section underneath….

 

METADESIGN FOR MURPH

IMG_0016

Cooper: “I thought they chose me. But they didn’t choose me, they chose her!”
TARS: “For what, Cooper?”
Cooper: “To save the world!”

If we’re going to talk about designing the future, let’s understand two things – who is doing the designing, and who is this future for, anyway?

Much of our cultural upbringing, from the pages of comics, to the Hollywood studios, repeatedly told us that we could step up and be the heroes. We’re programmed to feel that we’re the ones who will make the difference.

It’s time to look further than the end of our own egos, because there are problems coming we can’t find answers to, because we’re products of the system that created them.

Instead, whether we’re designers or clients, peers or parents, we must switch our attention to Metadesign; “nurturing the emergence of the previously unthinkable” in those around us, and those who will come after us.

It’s about ideas and environments, books and blocks, objects and systems, all examined through the contents and context of the most intriguing bedroom in sci-fi.

 

Delaminating Reality – a week at IED Barcelona

I spent last week teaching on the first week of the Innovation & Future Thinking summer course at the IED in Barcelona with Scott Smith.

You can listen to us talking about what transpired here on a little podcast we made there…

…and I thought I’d just throw up a few photos on here too, to give to you a flavour of it (the whole album is here on flickr).

Never have the Artefact Field Kits been so rigorously put through their paces… good luck to all the students and Scott in the final week as they prepare their projects to present.

We might well be doing another one in the winter now too, but if not, well, come to Barcelona to dance round the streets and find the future in the fragments of the present.

P1040545P1040673P1040680P1040666P1040592P1040524

P1040434P1040609P1040671P1040459

P1040667P1040626

P1040488P1040544