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Any designer knows the first step in the design process is understanding the problem. What is the human need that a new design can solve? On a recent design event we were faced with exactly that question, though it came in the middle of the sentence, rather than the beginning. As new information emerged during one of the report outs, it became clear that the exercise we had designed for the next module didn’t address the true need, so we had to think fast to come up with new one that would. To use a tired business cliché, it was clear we were going to have to rebuild the plane while it was in the sky.
We don’t often find ourselves in this situation; our typical preparation period for a Collaboration Consulting event includes a deep exploratory period to understand the client need and work hard to make sure all the right people are in the room. This means the decisions they make will stick afterwards, but also that new information may only emerge as the end-users start playing with options. The design process relies on iterative loops, going backwards and forwards as each new model is tested, so we need to be agile and responsive, even if it means designing on the fly.
While it can be very uncomfortable to have to make major adjustments quickly, if it’s necessary and well-timed, it does not have to be stressful. By keeping in mind a few basic principles, a re-design on the fly can be easy and successful.
In the end our re-design was exactly what the client needed at that point in the event, which led ultimately to a successful outcome. The power of design thinking is the ability to respond to the human need as it presents itself, regardless of your original plans, so all decisions domino from there. Whether you take the main roads or a scenic detour, reaching the destination is the best reward.
Innovation Arts is the globally recognised hybrid strategy and design consultancy known for its work with some of the world’s leading companies, as well as a range of global NGOs and public sector organisations. Named by GQ as the ‘management consultant of the future’, Innovation Arts has enjoyed over 12 years of helping business leaders to successfully navigate transformational change and organisational challenges within their companies.
In our last blog,we wrote about the questions our clients are asking us about navigating the future as the UK plans to exit the European Union, acknowledging that accepting the uncertainty and asking questions is the right place to start. But we also know that facing uncertainty can be very stressful for organizations and the people within them, because it can be difficult to make decisions and judgments in those conditions. It is a time when we have no playbook to follow; we must rely upon our imaginations and creativity as a source of inspiration to cope with what could happen, which is why working together can produce far better results than going it alone.
It used to be that predicting the future was fairly straightforward for many organizations; by looking at current trends and evaluating the existing landscape, they could make educated guesses about the future, as if the graph would continue in a straight line. However, because of the necessary confidentiality and evolving nature of the Brexit negotiations, there are multiple uncertainties circling, each with its own rich store of conceivable outcomes. Furthermore, it can be difficult to lead in such probabilistic situations: no one wants to hear, “there’s a 68 percent chance we won’t go out of business,” from their boss. No approach will make the challenges of uncertainty go away, but by using collaborative design thinking, scenario planning, and rapidly testing possible hypotheses to explore the challenge in depth, we can help prepare leaders to make more confident strategic decisions when opportunities and or threats from disruption present themselves.
What is Design Thinking with Innovation Arts?
When we work with an executive team on a collaborative design session, we stress the importance of working together as a high-performing team (like those of an emergency room, Everest climbing expeditions or Formula One pit crews) to cope with new information. This relies upon building knowledge of an unfamiliar landscape, exploring the need for collaboration and trust, and seeking out opportunities for innovation, to help anticipate what will be necessary to make the right decisions before the actual need arises. Moreover, we like to work with large groups of 50 or more so we can explore as widely as possible, test and discard many different options before narrowing in on the right solution we can build together to embrace what comes.
Navigating an uncertain future with an approach that is often new to the team can be unsettling. However, the Innovation Arts process is designed to deliver against the objectives we set together with the sponsor team at the start of the process. Your main question might be, “how do we plan for Brexit?” but by working together, we will also uncover a myriad of other relevant questions that will influence your future direction. Using a rapid-iterative, collaborative approach based on the design thinking methodology, we will uncover the forces driving your current organizational approach as well as the likely probable futures to identify how your system will respond. A useful analogy is how the various harmonies of a complex piece of music would sound if one or more different chords are struck.
In a collaborative design session with a client facing Brexit questions, we would encourage them to engage in a scenarios exercise, which would allow them to explore their response to the plausible but unexpected outcomes of the negotiations that might affect their business. In the case of Brexit, this would likely mean understanding which of their structures, frameworks, initiatives and timeframes will be most impacted by Britain’s withdrawal from the EU. After working with the organization’s major stakeholders to understand the basic trends and driving forces in the industry, we would use the information to unearth the key uncertainties in the disrupted landscape. We’d then take the driving forces to the extreme: drastically reduced time frames, radical numbers, dramatic actions—for example, is it possible that a process that today takes twelve months could, in the future, be completed within five days? What would enable that to happen? With whom would you have to work and what would need to be in place? Think about it like training at high altitude for the marathon you plan to run at sea level—similarly, working through a scenarios exercise is about maximizing fitness and readiness for the run ahead. The next step in the process is to work backward to close the gap between that imagined future and the way we work today to start readying ourselves for any eventuality.
Working collaboratively on a thorny problem is an ideal way to get a team prepared for a future they can’t quite envision.
The Innovation Arts process allows an executive team to practice making decisions based on available knowledge, and to build and test flexible systems to manage future events. Even if a team doesn’t know what to expect from the changing environment, working together will prepare them to face any challenge, identifying what to have ready to cope with any new situation (technology, cash reserves, new ways of working, effective communication systems, etc.). By practicing as a high performing team in a scenarios exercise with IA, executive teams who do not normally work together can have the chance to work through the tough questions and make the challenging decisions an uncertain future will inspire, making them more fit and ready to cope when the actual need arises.
For any company working in, or doing business with the UK, this is a deeply turbulent time, full of emotion and predictions about what might happen next. But it is also an exciting time, packed with new opportunities waiting to be explored. It will be impossible to guess the outcome of the ongoing Brexit negotiations, but with careful planning and forethought, major surprises or unexpected disruptions can be avoided, and that is where we can help.
If you have questions about how your organization can use collaborative design thinking exercises to be better prepared for Brexit and would like to work with our team, please contact us at email@example.com.
Fewer than 1 in 10 businesses have cultures that are understood. Why does this matter and how to address it?
The primary function of scribing is to visually capture a conversation into a clearer and more digestible form. The visual map of a discussion aids those present by providing visual interest and capturing the flow of ideas, so the participants can see what they are saying. It works afterward to help those who weren’t there access the overall themes and shape of the session. Visual capture brings the messaging to life and makes it more approachable and memorable, particularly to those who employ a more “right-brained” way of learning. A mixture of iconography, graphic forms and metaphors instantly bring meaning to the words, and visualizing complex messaging and strategic thinking also helps to align people in a way that simply talking can’t. This is most useful when graphic facilitation is employed to capture a group discussion as it breaks down the barriers of language and terminology, different levels of understanding and engagement. Ultimately, we know through research that people are most susceptible to learning when they are in a “childlike” state, and the playful medium of drawing stimulates this, enabling the audience to access their collective inner child.
A typical day in the life of a scribe goes something like this…
It’s the first day of a three-day conference so it’s an early start. I wear comfortable shoes and do a few stretches to ensure I’ll be ready to spend the whole day on my feet. I have a healthy breakfast and check my emails on the way into work. Among the messages in my inbox is a client request to graphically capture their wedding (this is not the first wedding I have scribed)!
The three-day conference I’m headed to today is located in central London and involves the construction sector, a sector I am familiar with because our team has had a lot of experience across a wide range of disciplines. We have scribed everything from child soldier experiences and talks about music in schools, to economic conferences outlining the latest trends in the industry, business strategy collaborative decision-making events where the content is being created as it is being scribed. Besides large media events such as TED Global or Wired’s annual Innovation Lectures, we have also scribed private and public events ranging from business leadership away days to global banking summits. Ultimately, the nature of the content makes no difference, because no matter what it is being discussed, we are experts in listening, understanding, and presenting the messaging in a way that everyone can understand and be excited by. That is why scribing is such a powerful tool.
There are many different reasons for using graphic facilitation, and many different contexts in which it can be employed. Primarily, scribing is a tool to break down the complexity of strategic conversations. The visual content acts as a record of that moment in time, which could afterward be used as a piece of communications for a larger audience who were not present at the event. Sometimes, the scribing will be developed into an infographic, an annotated illustration (what we call a “rich picture”), animations, storyboards, etc. Our scribing lives on in large murals at the London Transport Museum, and the offices of News UK, and Microsoft.
In preparation for the construction event today, we have spent the past few days speaking with the client about their agenda, speakers and content, and getting a feel for the images and metaphors that will both reflect the intent of the discussions and resonate with the audience. We also research the speakers, their style and presentations so that we are comfortable with the content once the session is underway. Sometimes, a shorter event conference will only allow a brief research period, but however much time we are given is enough, as the real art of scribing comes from listening and making connections between the different discussion points to track the conversation. For clients who want to achieve a specific outcome or output, we will spend a much greater period of time in preparation to ensure we can help them achieve their objectives.
I arrive at the venue around two hours before the session begins to prepare the area where the scribing will take place. This time it’s a large ballroom including a stage and seating for 1,000 people. I will be scribing on my favorite medium, a white board system called MovingWalls, portable, erasable white work walls on wheels, which are easy to transport and link together to make a wall several meters in length. My tool of choice is a whiteboard marker, and I tend to carry an array of different types to ensure I’ve got a good supply for the entire job. The Innovation Arts style is usually monochrome, but it depends on what is right for the session.
We are often asked, “How do we scribe? Is it difficult to listen, capture the information, and then turn it into an illustrated InfoMural with the key messages? How are you always so sharp with the content?” The only way I can explain is that it is a craft you learn and perfect over time. Although I have done a lot of preparation for every scribe I’ve done, just before the presenter starts my mind stills and I listen carefully to her speech. As an avid rock climber, I used to jump off cliffs for fun—to do this successfully, you can’t walk up to the edge of a cliff and over-think it, you need to empty your mind and take the leap. That’s similar to how I approach the start of every scribing job.
Sessions vary, and if it’s a complex one there will be new information delivered every few seconds. It’s an intense experience, and scribes try to simplify the content by drawing from the mental image bank each of us cultivates, working from muscle memory. The strongest image that links to the information will shoot to the front of my mind, and I commit that to the board. It’s difficult to explain how any creative process happens, but experience, creativity and imagination have helped me and our team of scribes build up a vast bank of visuals in our heads, so we know we can draw the right picture, quickly.
The theme of the conference provides me with a nice frame for the InfoMural on which I hang the content, in this case the journey of the event. Metaphors help to clarify the content and add visual interest, and can come from anywhere, from a carefully considered likeness, or a sponsor’s recent safari holiday, to a nearby magazine illustration which, once contemplated, seems wonderfully right for the situation. At the end of the day, with the InfoMural a third of the way completed, I meet up with the client sponsors for a debrief to chat about the outcomes of the day and prepare for the next day’s session. It’s important that the space on the InfoMural is planned in my mind so I leave enough room for all the speakers throughout the event, and for more ideas and connections to emerge as the content develops.
The final task of the day is to take a call from an American client who wants Innovation Arts to come to Atlanta to scribe their large international conference. We talk about the event and their expectations and arrange a Skype call for early next week.
I get home and decompress with a family dinner, and a quick run with the dog. The next day I will do this all over again—what a great job!
The answer lies in the way the teams are working together. There is a tendency to look at the output of a team that is generating a lot of ideas in a non-judgmental, uncritical way — no idea is a bad idea — as being very productive. And it’s true that a team that is cooperating in this way will deliver an abundance of possibilities and possibly finish the project quicker than a single person working alone. However, a team that is debating, challenging, building upon one another’s work and questioning the ideas presented will produce more creative ideas of higher quality because critique allows people to dig beneath the surface and come up with ideas that aren’t predictable. Creativity is ignited when diverse ideas are united, or when ideas from one domain influence those of another, which is the true meaning of collaboration. We said in a previous post that creativity is the process of eliminating options; through collaboration this is not achieved with voting but with hard-won convergence. A team cooperating will make light work of solving a problem. But a team that argues, influences on another, inspires and connects—collaborates—will achieve a more satisfying result.
So, what is the perfect template for a collaborating group? Many years ago, I worked in the theatre, as an actor, designer, and artistic director of a theatre company, and believe one of the best models of group collaboration comes from the Broadway stage (stay with me here). I can tell you that no matter how ambitious you are, no single person can create a Broadway show—there are simply too many different kinds of talent required: a composer has to work with a librettist and a lyricist, a choreographer has to work with a director who is probably getting notes from the producer; there must be actors, an orchestra to play the tunes, and a small army of designers and craftsmen who bring the world of the play to life. And the most important collaborator of all, the audience, whose reception of the work can change the entire course of a production.
Setting all the razzamatazz of Broadway to one side, play-making at its core is an important collaboration between the actor and the text and music. The playscript sets out the words and the score sets the music, but neither is meant to live on the page—it is the actor’s voice which brings them to life. And when both are put before an audience, who receives it in a certain way—boom! Something new is created. Not completely of the playwright, not completely of the actor, not completely of the audience, but something wholly of each. To add further complication, a successful production must be financially viable as well as artistically creative, and each party involved in the making of it has his artistic reputation riding on the outcome of every performance, so the stakes are high. A forgotten line, a missing prop, a door that doesn’t open, or a wardrobe malfunction can stop a show, and that is a risk no one is willing to take.
Successful collaboration in the theatre also relies on the interconnected webs of people in the relatively small universe in which that world revolves—there aren’t many degrees of separation between Kevin Bacon and anybody, or between the librettist of “Guys and Dolls” and the choreographer of “Cabaret.” In my experience, certain directors often chose to partner with an artistic team they had worked with before, a pattern often repeated in theatrical collaborations, as producers view “incumbent teams” as a safe financial bet (Elton John and Tim Rice, I’m looking at you). However, intimacy with an artistic collaborator doesn’t always guarantee success, because knowing each other too well could mean that ways of working become stale. The opportunity for real magic happens when a new variable is injected into an already established collaborative relationship—a new set designer or an unknown actor, or possibly even when an old team works on a debuting play—when fresh thinking challenged already established ways of working. A famous example of this collaborative alchemy is the creative team behind “West Side Story,” one of the most commercially and artistically successful Broadway musicals of all time. The concept of a musical based on “Romeo and Juliet” was the brainchild of composer Leonard Bernstein, playwright Arthur Laurents and choreographer Jerome Robbins—all Broadway legends—but the project, in 1957 a departure from theatrical conventions both for its focus on social problems and its extended dance scenes, made history thanks to the fresh talents of 24-year-old Stephen Sondheim, a then unknown lyricist who had never worked on a Broadway musical before.
Can collaboration work with other types of team work the same way it works in the theatre? Of course, because on any given project the high stakes are the same—it must be completed, the reputations of the people working on it depend on its success, and each person involved will have a view on the best way to deliver it. Assemble a team with strong opinions and a defined amount of time, stimulate conversation, criticism and conflict and fruitful interactions will happen. And do this in a communal space—large and open so that any one person can talk to another, but not too precious that it can’t be altered as necessary. From the Cavendish Laboratory at Cambridge, the National Theatre, Building 20 at M.I.T. to the public spaces at Pixar, the most creative environments provide opportunities for one idea to bump up against another.
Bit by bit, putting it together, diverse teams trust each other to work in parallel, the only way to make a collaborative work of art. Whilst in the theatre the entities are all answerable to a director with a vision for how best to serve the play (and who in turn is answerable to the opening night audience), at work we look toward project owners and visionary leaders to provide clarity on objectives and help guide us toward success. Having just a vision is no solution, everything depends on execution, and in both worlds, failure is not an option.
The lesson we can take from the theatre is that when there are enough people with different perspectives and skills influencing one another in unpredictable ways, the group dynamic will inspire excellence from each person working to put the show on the road. In this creative process, every moment makes a contribution, every little detail plays a part. All those hundreds of micro-interactions add up…but don’t expect them to be without friction. In fact, the challenging conversations you’ve been avoiding so long could well be the most important part of the process. They might be confrontational and not always pleasant, but it doesn’t mean they can be avoided: collaboration is not about getting along, it is about getting it right.
Human beings use models all the time. Our observations, reflections and interpretations are all about creating mental models. Words themselves are models – a representation of reality. Just as the word apple is not the apple itself, a word, any word, is a concept we understand through agreement. Models provide a basis for conversation.
Friends at the Sente Corporation have put it this way:
“Depending on how you look at it, anything can be a model. Even reality – from one vantage point – is merely our own electro-chemical processing of narrow bandwidths taken from a sea of information”.
Why do we create models? Good models simplify our complex world, enabling us to communicate and appropriate complex ideas, notions, theories, and so on effectively and efficiently. We make our models to a scale where what they represent becomes understandable on an intuitive level. They enable us to develop the comprehension and insight from which we can begin to experiment. And through this, we learn.
In the context of enterprise, models enable us to examine a situation, analyse it and then draw out plans. Many of the concepts we grapple with in today’s organisations are so complex they are beyond the limits of our intuitive comprehension. Through modelling we attempt to strip away these layers of complexity in order for us to understand the context of the enterprise, the components within it and their relationships to each other and the external eco-system.
They do have their limitations. Models are fundamentally ‘reductionist’ in nature and there’s a balance to be struck between making the model sufficiently abstract that it can be understood intuitively whilst avoiding over-simplification. For example, in breaking processes down to constituent parts, the nature of the whole – the systemic dimension of the organisation – is all too often left neglected. The decomposition omits many of the complex interactions around a process, which is just a logical, linear sequence of activities. To document all such interactions would involve a mammoth effort of analysis, so the trick is to find the right mixture of reductionism and ‘holism’ or ‘systems thinking’. Cybernetics helps our understanding too, and I’ll come back to these points in later posts.
There is one fundamental pitfall to avoid when working with models: we must never forget that all our models – be they process maps, mind maps, spread-sheets, stories, physical or conceptual models – are abstractions. Therefore it is vitally important we remain vigilant in revisiting and revising them regularly, cognisant of the fact that, as George Box put it: “All models are wrong. Some models are useful”.
We must learn to be constantly critical and questioning, otherwise the very models we have constructed can be our own downfall as we cling on to them, attached to the comfort of a reality we perceive that may not, in fact, be appropriate. The only way of achieving a shift in our own perspective is through conversation. An intervention in our self-perpetuating thought processes can – if we are open to it – change our view of the world. Or our business.
At Innovation Arts, when we work with clients facing complex issues, we apply a rigorous approach to modelling. Dialogue and iteration are key to our approach, both during the Architecting and Building phases of solution design, but also when the new model is put to Use.
Even for those of us in the habit of asking curious questions, this one may seem to have an obvious answer: Taking a functional view can provide economies of scale due to the encouragement of and access to specialisation. Similarly, the functional view can facilitate increased skill development and is easier to supervise as there are generally clearly defined activities associated with each role – with specialists not having to be responsible for administrative work. A functional approach may also lead to higher morale as it engenders similar norms and values within each department.
You will have heard tell, though – perhaps you even have stories of your own – of times when working in an organisation with functions becomes dysfunctional. When functions become silos, and it is difficult to co-ordinate work across them, for example. At the very least this can result in bottlenecks and the sub-optimal use of resources. It may also lead to an increased need for the co-ordination of activities within the organisation, where manager decisions tend to pile up at the top. In the same way that managers become functionally focused, it has also been argued that this tends to distract from a greater understanding of the business as a whole which can in turn lead to a narrow, short-term focus on functional goals.
So, would you describe you or your organisation as functional or dysfunctional? Is there a middle ground? Functionally dysfunctional (and vice-versa)? What box would we put ourselves in if it was a 2×2 matrix (apologies, I was once a proper Management Consultant) and would we agree which was the best box?
I think where we can agree is that a functional view is going to be useful in understanding how an enterprise…functions. Or doesn’t function. It’s just not the whole picture. As an approach it has its limitations.
Through our bespoke Design & Decide approach, we can help you to bring the best of the functions within your own organization together to tackle the complex issues you face. We can help you look at things in non-functional ways too. By breaking down preconceptions and old habits within the system, functions can behave as fully integrated parts of a team committed to working in the same direction to achieve shared objectives.
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.