9 Mallow Street London EC1Y 8RQ
We tend to create the framework for our own reality based on past observations, experiences and reflections. We do this using a language that has helped us understand this state, enriched with further meaning and credibility through dialogue, shared experiences, and discussions with others.
The limitations of this process are clear. If we remain in equilibrium, constrained by our own perception of reality, then where do breakthroughs come from? What must happen to break our own alignment with conventional wisdom and follow another train of thought, and then allow others to understand it and (potentially) embrace it? It is at this point some might begin talking about ‘creativity’ and ‘brainstorming’, but many attempts at creativity in problem solving or in innovation remain framed – and as such constrained – by existing ideas of reality. Before we look at creativity our next post, we first have to deal with the idea of paradigm shifts.
Breakthrough thinking requires challenging our acquired knowledge. Without getting too deep into theory, for now we will say that to experience a breakthrough, we must be open to questioning what we think we know and the way we view the world. We must also accept our personal or organisational ‘fog of war’ – the things we are as yet unaware that we don’t know – and that whatever is in there could potentially be exciting. Engaging with our ignorance as something positive allows us to unlock our curiosity, so that we may actively seek out novelty, experience and new interpretations, which gives us the power to embrace a new paradigm of ‘possibility’.
Possibility are the things that may or may not come to pass. In any one given situation there could be many different outcomes, but we limit our choices as human beings and as communities, often because we work on options grounded in our past and by a communal agreement on what is, and what is not possible.
Challenging a communal agreement opens up the challenger to risk, whether purely reputational or much worse than that… Consider, for example, that at a time when conventional wisdom assumed Earth to be the centre of the universe, Galileo Galilei reported his discovery that the centre of the universe was, in fact, the sun. In doing so he was stepping out of a community of agreement to introduce a new possibility – opening a dialogue that challenged ‘reality’. Unfortunately, Galileo’s new ‘reality’ fundamentally disputed established teaching, and his refusal to recant his theory meant he was imprisoned by the Inquisition for the rest of his life.
Many other eminent scientists have gone on to make discoveries that became accepted as natural truths, but were subsequently disproven. Isaac Newton’s theory that light was composed of particles, for example, was accepted as fact until 100 years later when Thomas Young discovered that light spread as waves and opinion changed. Subsequently, Einstein came along with his famous e=mc2 equation and told us that light travels in waves as particles. We do not ridicule Newton or Young for being ‘wrong’ of course; each scientist made his own contribution to our evolving understanding of physics, a discipline where the most renowned thinkers are constantly open to extraordinary and as yet unimagined possibilities. Other disciplines would do well to learn from this approach.
Practically speaking, how do you shift an organisation’s paradigm from one of reality to one of possibility? We firmly believe this is not the job of a single leader. Rather, leaders must harness the combined strength, intellect and imagination of their people. By bringing many voices together in conversation and collaboration, the realm of possibility is greatly expanded and the ground is laid for exploration, experimentation, inquiry, trial and error and ultimately, triumph.
Once you have assembled the right people – people who know, people who decide and people who do – and you know the questions you want to answer, the next step is to carefully design the conditions for having necessary conversations. There are many different kinds of conversations, each of which serves a different purpose. The conversations that can be had between two people are different to those had within a small group of eight, and different again to those of a larger group, different yet again to those held in person and, indeed, virtually. It is likely that a mix of all of these, carefully structured and using appropriate language, will move you from ‘reality’ to ‘possibility’. Design thinking helps establish which conversations must be had, with whom and how, in order to achieve the possible and to unlock the Group Genius that leads to breakthrough ideas.
Possibility, and knowing that there are in fact multiple options, also suggests the necessity of making choices. It is sometimes harder than we think to accept we have choices to make, as this also imposes the requirement of taking responsibility. The next question becomes, ‘how do we make the best decision?’ and the answer is creativity.
Once you have entered a paradigm of possibility, creativity is no longer the process of generating ideas, but the process of eliminating options.
Yet looking at the actual designs around us today, we still see determined and rigid solutions in which spatial composition has been the main objective. There are many speculative real estate developments, for example, which do not consider any particular client’s needs and aim primarily at a maximum amount of anonymous rental office space. The same thinking often continues inside the company, where ignorance or a wish to save money results in anonymous rooms divided into identical workplaces.
The most common approach to office space still reckons with one workspace per person whilst imposing negotiation and meeting rooms are considered separately. Many of these individual and group spaces are regularly unoccupied. Meanwhile, the budget for furnishing the office is divided between personal workplaces and a representative zone, altogether forgetting the background zone. Yet, it is common knowledge that the coffee machine is the best communication tool and that the most productive moments at conferences are coffee breaks. Why is this forgotten while filling the office plan with desks and chairs?
And let’s think again about who uses modern office space: It is easy to agree that working practices have changed. Today’s office work no longer consists of only data entry and processing; the linear work arrangement has become parallel and serial, meaning we should be able us to use the worker, time, and space much more intensively. In addition, work is more creative, and most of the creative work is done in changing workgroups that require a flexible use of time and space: there is no more need for physically emphasised hierarchy. And of course everyone can see what mobile phones and laptops have done to our working time and workplace. So how do we see through these changes to the new requirements? What is the new model?
In HIVE, each individual performs a fixed task in the production chain – usually from nine to five. The work does not require interaction or autonomy; the space is divided into an endless number of identical working places. Thanks to automation this past typology is disappearing or changing into DEN-type, more intelligence-requiring activity, where teamwork is of primary importance. The space planning in a den-type office is mostly open, but there is still not much personal independence. The CELL-type is used mostly for work requiring concentrated thinking (lawyers, research centres) where workers have great autonomy in using their time and in the content of their work, but few possibilities for interaction.
It is believed that as information technology develops, the independent concentration type of work and project-based teamwork will be combined in most enterprises. In the new “transactional” office, both interaction and independence will be maximised. The metaphoric CLUB is a place where people gather and communicate, while the actual work is done somewhere else. It is predicted that more and more companies will begin to work like Hollywood film teams that are formed separately for each project.
The premise of the activity setting approach is that one place – an all-purpose workstation per person -no longer suffices. Instead, people need multiple workplaces. These specialized settings span the variety of -often contradictory – office worker requirements. As tasks change, people move to various specialized activity settings. This movement is healthy, it makes jobs more interesting and encourages participation in ad hoc temporary groups and greater use of specialized costly equipment.
Robert Kelley, 1985
Because today’s workspace must be a multi-task environment, serving many clients and many different knowledge tasks at once, and because different tasks have different spatial, emotional and tooling requirements, the contemporary environment should be designed to be both flexible and capable of being divided into specialized zones. Within each zone, there may be different sub-areas, each with its own use and feel. In addition, many of these zones can expand and contract, thus, they can be configured to be larger or smaller, to be part of or totally separate from each other as the work demands.
Looking beyond the allocation of space, remember that as a form of communication our environment can be denoted as being multi-sensory; visual, aural, tactile, spatial and so on: “The will of the epoch translated into space”. An effective working environment should inspire workers, showing them that they are needed, and express the distinctive face and values of the enterprise. An office should be a place with an aura of its own. (Contrast this with the kind of anonymous “non-places”, – planes, ships, airports, supermarkets and indeed offices with which we are increasingly surrounded, where the design aim seems to be to eliminate differentiation altogether).
Several principles and design goals drive the basic layout of an environment that communicates effectively: Its image must include a spatial pattern that relates objects within it, relates the environment to the observer, and to other objects in its surrounding community; it must exhibit an architectural grammar and geometry appropriate to its specific mission and fit within the grammar and style of its location; it must control its boundaries in terms of access, light, sound, sight lines, and it must do this without presenting a defensive posture. The environment must include spatial ambiguity – the high variety that creates interest. It must include sheltered places for quiet reflection as well as open spaces for collaboration and expansive thinking. Paths, boundaries, regions, nodes and landmarks add variety, flexibility, build relationships and communication and facilitate feedback and change. To be psychologically comfortable, an environment must be physically comfortable and allow variation in the colour and texture of the furniture, levels and quality of lighting, and acoustical environment.
The evolution of our working environments is an on-going challenge; neither patchwork fixes nor wholesale redesign will suffice in today’s rapidly changing world. As people expand their horizons, so too must the environment expand its ability to serve. Individual elements must be created which can be replaced when outgrown with new elements that still complement the entire system. Frank Lloyd Wright felt the task of the designer was to design for what people can become–to stretch people to reach their potential. Today’s knowledge workers require an environment that challenges them to reach both their own potential and that of their organization whilst also facilitating that progress. The designer must see and communicate through the environment its conscious ability to evolve.
Complex natural systems are our model for successful, creative, evolving work environments. Our daily workspaces must be engineered to be both organic and cybernetic, adjusting to user requirements minutely and without fanfare. Those of you who have worked with us on an Innovation Arts Design Session will recognize these principles ‘in miniature’ in the temporary, mobile environments that we establish for each session. It is for all the reasons described above that we insist on creating the right environment to support the work we do with you. Our dedicated team designs each environment specifically for each client and each challenge, and over the course of the Session it will shift and evolve to guide, mirror, or lead the participants’ journey as they collaborate on the task in hand.
Architecture results from integrated acts of philosophy, art, engineering, craftsmanship and business and – when perfection is sought – allows no compromise between these disciplines. A good piece of architecture directly supports a specific concept of life and work style and acts as a physical, visual, tactile and symbolic guide for its inhabitants. Conversely, bad architecture can work in direct opposition to those inhabitants’ objectives and culture, as per the title of this post. This idea that a work of architecture can also be a productive or counterproductive tool of human economy is relatively new. What is also novel is the idea that the workplace can be an expression of living art, and that this is not only possible but necessary in today’s world.
If we are to design our workspaces with the intent of using the most effective architectural pattern language, we need to get under the skin of how everything speaks. The language of architecture is largely symbolic; specific shapes, forms and textures invoke particular meanings. Just as the expressionist movement in literature gave birth to analysis by metaphor and symbolism, so too has expressionism had its influence over architecture. The early 1920s bore testimony to this architectural influence where buildings were designed and constructed to express or symbolize their use thus aiming to integrate both form and content into a coherent, more meaningful whole, for example the Volkstheatre Project, 1921 or Einstein Tower Observatory, 1920.
In the book ‘Metaphors We Live by’, Lackoff and Johnson build a theory that we live and express ourselves in terms of metaphor. This notion will be examined in greater detail later when I will talk about what we mean by ‘Possibility’. However architecture provides some firm examples of this theory. The Renaissance movement provided this language, its masters drawing the (organic) parallels of buildings as life forms in themselves. A buiding rises up, or it lies in a particular way. It has a front and a back, a face, a silhouette, a profile. It has a heart, a nerve-centre. It has a top, a crown, related to the sky and a base, a foot, related to the ground. Windows look out. Doors open wide. Perhaps no building is more symbolic that Antoni Gaudi’s ‘Casa Batlló’ with its bone-like structure and death mask balconies symbolic of the human experience in Catalonia’s quest for independence.
The power of the metaphor here is great. As the imposing designs of Romanesque, Gothic, Renaissance and Baroque all inspire superlative adjectives, so too are the feelings they stir in the soul. Compare this symbolism with that of most modern corporate architecture and it is little surprise they pale in significance, often inhuman, dead, faceless structures.
Intentionally or otherwise we have in recent times ignored the language of architecture in our workplaces, the timeless way of building as Christopher Alexander calls it, at the expense of functionalism. Our offices are uninspiring. That they are a mish-mash of metaphors at best cannot be denied. That they are malapropisms is probably just as correct.
So, back to the Bored Room, and our quest to bring to a powerful and inspiring voice to workspace architecture. Generally speaking, todays offices are boring places, at least from the point of view of art, design and architecture. Yet, they are precisely the places where many of us spend most of our productive time. How did we get here? Many contemporary ideas about the office date from the times of the industrial revolution, when accountants were gathered into office buildings erected next to the factories. The economic strategies that had modernised the industry were directly transferred into the paperwork. It was a simple, clear and very unambiguous procedure that followed the same assembly line principles governing the action in the factory halls. The office was a master class of simultaneity; the system functioned only when all its parts were in place – from nine a.m. to five p.m.
Alvin Toffler said in 1985 that:
“the corporate environment has changed so swiftly and fundamentally in the past two decades that structures designed for success in an industrial environment are almost by definition inappropriate today.”
Over thirty years on, and whilst those changes have done nothing but accelerate our workspaces have barely evolved at all. The time for us to take back control of our surroundings own us is long overdue.
A rich, varied environment, with ample communication, continuous learning, rapid feedback, knowledge management, and readily available tools are key to eliminating the barriers to human creativity and increasing productivity. Flexible space, open areas, new types of furniture and complex technological systems will increase the amount of informal communication that is necessary to develop communities of practice and build networks. There is inherent value in people from all levels of the organization working in close proximity to each other. In designing this new type of environment, we must go beyond incremental or even major changes to existing workplace designs. We need something unique, innovative, and totally new.
Of course, the reverse is also true: our relationship with architecture is a dialogue, the communication is two way. Our events – political, cultural, environmental, also clearly shape the direction architecture takes.
The post war era engendered a new era in architecture. The Modern Movement was borne of our need for rapid, large-scale rebuilding and was founded on a solid base of extensive industrialism and economic growth. Advanced technology enabled machine production of pre-fabricated components allowing mass standardization. Need for function over-ruled the need for form and aesthetic quality; large scale blocks, scientifically designed to functional parameters were hoisted into place, literally, to the delight of governments for these constructions were not only economic in terms of land use but also in terms of construction costs.
The theory was that in order to achieve a planned economic use of land and resources, people would have to abandon their traditional habitats, and government – with the help of architects – would educate them how to live!
Just as the structures Imperial Romans erected in their conquered lands sought to suppress the indigenous population and demonstrate the might of the Empire in direct contravention of local traditions and climate; just as the Gothic Cathedrals of Europe sought to strike fear into the general population as an embodiment of Heaven on Earth; just as Renaissance Palaces sought to mirror the wealth and power of those that lived in them (and so on), so, particularly in the west, the governments, ministries and administrative centres sought to symbolise and express their own power in the new world.
This was not unique to domestic architecture and city and suburban planning, however. Our cities today are festooned with imagery of business empires and consumer capitalism. These are the loud, clear, messages of the ‘modern’ corporate building. A fine example of this is the United Nations building in NYC. The council debating chamber, where representatives of each of the nations could come together and discuss issues with a view to achieving a resolution (despite this being far from collaborative working environments as I know them to be) is completely overshadowed by an administrative tower. The tower itself is a modern day ‘Tower of Babel’, symbolism of the bureaucratic nature of political power.
Let’s step back and look at these monolithic structures – already historical relics in today’s world (even though many are still being built, taller and louder than ever). They have effectively become obsolete. From a technical perspective the Modern Movement has failed us; society is having to support building failures through their repair, renovation or demolition. Similarly, the advanced technology to support these buildings in terms of climate control, lighting and sound for example has failed us. Socio-culturally it has been a disaster. In attempting to define a new language the Modern Movement served to create the antithesis of architecture, alienating human experience and denying the freedom of choice, of individuality and, most importantly, of being alive. Regardless, their legacy messages continue to influence us as they are still a part of our everyday experience.
The wake of Modernism has brought about all sorts of similarly artistic movements; post modern, neo-vernacular, neo (neo) classical, high tech and so on. None of these seem to have evoked the richness of experience that we see, hear and feel in Frank Lloyd Wright’s work, with the possible recent exception of biophilic design. Biophilia means the love of life or living systems, and the biophilia hypothesis is that human beings have an innate tendency to seek connections with nature and other forms of life. Edward O. Wilson popularised the idea in his 1984 book Biophilia.
In the context of our workplaces, from the corner office drenched in light to the plant-filled lobby, this is not a new idea, but biophilic design, whilst still nascent, is a growing discipline that takes the concept much further. It adopts a holistic approach, looking at whole systems, and evokes the idea of a biophilic space that facilitates our work – making everything easier and, in the way it communicates with us, actively improving our physical, emotional and mental health.
Anyone who has ever worked in a cubicle will understand that there is a lot to be said for this approach, and it’s a principle that we take forward with us as we look at the workspaces we build today, the ‘frozen music’ we play.
From this last definition we might infer that architecture is a discipline that uses the medium of building to communicate. The nature of this communication is experiential; we experience the structures around us continually. As a form of art it is pervasive in civilisation, inescapable, reflecting the social, political and cultural influences of the day and communicating the values thereof.
Architecture is living history; ‘stone documents’ that are ‘an expression of the utility and power of a nation’. As a creative movement, architects are heavily responsible for the form of the populated world in which we live. Some of humankind’s most amazing achievements and most beautiful creations have been crafted by architects, and indeed some of the most gruesome blemishes.
Similarly to any movement, both scientific and artistic, architecture is a synthesis of thought and feeling and of the dichotomy of the creative process; a model of reality. This dichotomy reflects the mechanistic or organic nature of the world we live in and the parallels between architecture and business are clear. It is the very same dichotomy that pervades our discussions here: holism versus reductionism as modus operandi.
In architectural terms this dichotomy is seen at play in the traditions of Classicism and Romanticism. In classical architecture, the notion is very much about man imposing order upon nature, in romanticism man integrates with nature. Classicism is about the rational and the mathematical, romanticism is about the intuitive and the organic. Romantic asymmetry contrasts with classical symmetry. Neither of these are mutually exclusive – the one always contains an aspect of the other. Therein lies the harmonious positivity opposing models can generate; just as reductionism can provide what, in business terms, can be called a ‘bottom up’ perspective so the ‘top down’ perspective the holistic view presents is equally valid.
No finer example of these two schools of architectural thought is embodied in the work of two great 20th Century architects; Frank Lloyd Wright and Charles Edouard Jeanneret, alias Le Corbusier.
Wright’s romanticism was organic in nature. His concept of Organic Architecture sought to build at one with and inspired by nature and natural forms. Each element of nature, the organic plant and animal forms, was understood in terms of its context and the relationship each had with that context with a distinct connection between form and function.
The principles of Organic Architecture were horizontality (oneness with nature as in a horizon, not verticality which implies man’s dominance over it), sympathy with the site (the merging and blending of building and landscape, blurring the division of inside and out), symbolism (in the sense of a home, this domesticity would evoke welcome, warmth and protection as well as a metaphoric heart), truth to materials (natural materials were used in their natural form) and character (as opposed to a single dominant style).
Le Corbusier’s approach was scientific and logical, each problem thought out afresh in the light of cold reason. He saw functionality to be the fundamental principle of design; “a house”, he said “is a machine for living in”. He sought reductionism as a way of abstracting the functions of the constituent parts and reason to design elements for each function. Furthermore, Le Corbusier taught architects to create more problems than could be solved to facilitate creativity; innovation through over-complication.
Styles and movements abound in the field of architecture, as they do in art and science. As scientific discoveries bore new industrialised societies, so did architecture both fuel and absorb the changes in both material, structural and cultural forms. New technologies provided new materials with which to construct allowing a greater array of innovation in design of form and function. Similarly, as Einstein added a fourth dimension through his theory of relativity, so the consciousness of space and time found expression in the forms of new architecture and new materials. The ‘futurist’, ‘constructivist’, ‘expressionist’ and ‘functionalist’ movements all came to fruition through this time.
We said that architecture was a form of communication – a ‘frozen music’ that surrounds us. Going back to our original question, then, how is architecture influential in designing our workspaces, and what are its messages as we go about our work?
“How you organise the future has an awful lot to do with what you do with it … an optimist tends to have a pretty good future and a pessimist has a pretty bad one, but interestingly they can have exactly the same thing happen to them”.
Since this book was first written, the world is a very different place, in fact arguably it is one that is not only more tolerant but also more supportive of individuals and groups striking out on their own. Bolles, who regularly updates his book, more recently commented: “Four areas, in particular, have changed. First, jobs today are temporary; you don’t know how long your job is going to last. Thirty years ago, before the onslaught of downsizing and such, you could count on spending your working life at the same job. Second, jobs today are really seminars; change is happening so rapidly that you’ve got to pay close attention and learn. Third, today’s jobs are adventures; you never know what’s going to happen next. And fourth, you must find job satisfaction in the work itself; your self-esteem must come from doing the work rather than from some hoped-for promotion, pay raise, or other reward – which may never materialize. Fortunately, that dim outlook is not universally true: Some organizations appreciate, praise, and celebrate their employees, but not as many as there once were – especially not when an organization has more than 50 employees”.
Interdependence makes a case for a very different type of organizational perspective and one surmised in the idea of a ‘corporation of one’. In real terms this means we, as individuals, are our own venture, responsible for our own lives, our own ‘ways of working’ our own ‘brand’ and our own integrity – if to nothing else then to the brand we ourselves have chosen to create.
In that sense, it is a lot more about individual possibility and creating a present – and future – to live in to. Just as the corporate boys create brands evoking dynamism, agility, creativity, beauty, safety, professionalism (just take a look at some of those brands out there) we too are our own brands. Already. The only significance in doing this beyond the realm of the traditional employment contract is that it is we that are responsible for making it work. There is nowhere to hide. It’s make it work or compromise yourself. It is putting yourself on the line. More so than you ever will have to do in a large company.
Corporation of one forces us to continually reflect upon where we are – like a cybernetic loop – and monitor that position with our own desired end-state always in mind, taking on responsibility for our own learning and development and constantly re-evaluating what we are best at and what we enjoy doing the most.
Taking this model of perspective, where employees are not dependent on a company, but exist as interdependent individuals in a complex, adaptive system, what are the implications for the organisation of today?
This has spurred the knowledge and experience economies in which we now find ourselves where the models of old, such as Maslow’s, do not necessarily reflect the reality in which we live. As we are increasingly and systematically bombarded with information, the need for systemic thinking has never been more apparent.
The information economy is serving to commoditise goods and services at an ever-increasing rate and, conversely, knowledge (‘know-how’) and experiences are the primary sources of value and, it follows therefore, competitive advantage. The ‘Blurred Economy’ where speed, connectivity and intangibles pervade, where the notion of the ‘offer’ supersedes product and service-orientated mindsets and where the notion of the exchange between producer and consumer has taken on far more profound implications than previously understood economics ever explained.
These changes are already upon us. We can already bear testimony to changes in our expectations as consumers as we become increasingly demanding as to the value we get for our money. As consumer expectations change so must the cost of doing business as transparency in the global economy comes to the fore. This is the real tangible effect of the internet revolution: The ramifications in terms of stock market valuations alone have been tremendous.
The notion of an ‘Atomic Corporation’, where the effects of the information economy will cause today’s big corporations to break-up under pressure and ensure the evolution of a new landscape populated by much smaller business entities is not unrealistic. None of the factors above is in itself capable of turning our business world upside down but in combination they are enough to tear apart even the biggest of our giant corporations.
At the heart of it all lies a single phenomenon – an emerging information infrastructure that alters dramatically the costs of co-ordination and dispersion of knowledge.
As Camrass and Farncombe suggest; “a new focus on agility is needed, and as you can’t be big and agile at the same time (the internal cost of movement is too high), fragmentation is looking more and more attractive. And breaking up has never been easier. The availability and breadth of communications channels between organisations is growing exponentially, which is sharply reducing the costs of doing business”.
Regardless of your view of this radical prediction, the truth is that in order to simply survive, an organisation has to be willing and able to mobilise and engage its people and supporting infrastructure when and where customers demand. Many will be dependent upon their ability to recruit and retain the best brains with the best attitudes who are able and willing to meet such extraordinary demand.
How is your organisation responding to this challenge?
Why does curiosity diminish as we get older? Perhaps because we augment it with experience.
We all have experience that guides our intuition about how the world works. How many of your day-to-day decisions are guided by your personal experiences? I know many of mine tend to be. I form opinions based on my most recent experiences working with the many organisations we serve, facing today’s complex challenges. But also from timeless lessons I have learned during my long and on-going apprenticeship in enterprise. I can trace some back as far as my first real venture into earning money and understanding its value: my first paper-round. Some of today’s issues seem modern and unique, but others are timeless. I first learned about customer service, for example, and the importance of face-to-face interactions, when I grew too big for my paper round (marginally, some would argue) and began working in restaurants. The lesson that you should always treat everyone and everything along the way with respect is applicable whether you’re dealing with a half-million-pound consulting contract or a fifty-pound restaurant bill.
We all learn and grow through our experiences. However, as I remind myself every day, this is never enough. Our experience, and that of the experts we turn to in need, is a double-edged sword, showing us the way and yet sometimes blinding us to the obvious. Experience gives us business texts, articles and opinions, but most (if not all) of those I’ve read over the years seek only to peddle solutions, sometimes solutions to a problem that is ill-defined or misunderstood.
It has never been more evident to me that there is no clear recipe for success. Sometimes, even when all the right ingredients appear to be in place, something might fail – or, more puzzling still – when it feels like we’re missing something, astounding results are achieved. Why can’t we predict these unexpected failures and successes? The future is rational only in hindsight (as the axiom goes).
This is why – although now CEO of my own business with my years of studying business and management a long way behind me – I consider myself to be an eternal, curious student. It’s an approach that never ceases to intrigue, surprise, sometimes delight and (often) dumbfound me.
Our constantly changing world means that the experience and knowledge we have gathered along the way has a shelf life, and I believe it is not those with the right answers who will survive, embrace and drive change, but those with the right questions.
That’s where we come in. At Innovation Arts, our commitment is to help you develop your own solutions to the complex challenges you face, but we never start by looking for answers. First, we help you decipher the right questions. While the process is tough, it works. And it delivers outcomes that you may never have expected.
Given we’re entering a new phase ourselves, we felt it time to revisit our own community, purpose and identity. We reaffirmed why we’re here and what we love doing and what it brings to us. Be we also felt we could be a little bolder in our appearance. A little more bullish, perhaps. So, we put ourselves through our own process to understand our visual identity and how it relates to who we are today.
And so here it is – a refreshed brand.
We like it (clearly). We feel it represents a bit of rebellion in a world that asks for perfection, clean lines and perfect shading. We know that rarely do any of those exist in practice. We like the visually incomplete, scruffy but ‘good enough for now’ visual, we feel it suggest iteration and play, it invites people in and suggests fast working and challenging convention.
You may just think it looks cool. But there was method to our madness. If you’d like to learn more, drop us a line. If you’d like some of that level of thinking applied to you, then we’d love to talk.