Category: Teaching notes

  • Facilitation tools for engineers (and other humans)

    Facilitation tools for engineers (and other humans)

    This post is still under construction. In this post I am linking together the best of my material on facilitation tools for engineers (and other humans). To facilitate is to render a conversation easier. Many of us are taught to present but not to facilitate. What’s the difference? Why might I want to facilitate? And how do I do it? It’s all in here. Stay tuned as I add more content (19/10/21).

    From Presentation to Facilitation

    • Oliver’s mantra for facilitation
    • What you want may not be what they need
    • From positivism to constructivism
    • Build the agenda together
    • From expert on content to expert on process

    The Four Modes of Facilitation

    • Presentation
    • Break-out
    • Guided Q&A
    • Guided Plenary

    And underpinning many of these, how to use Catalytic Style.

    Structure for different outcomes

    • Transmitting information
    • Learning about a situation
    • Helping people help each other

    Training Courses

    Facilitation training is some of my favourite training to deliver because it quickly gets into how we relate to each other. This is great stuff to explore.

    Check out the latest courses we are running on facilitation, design and all sorts of related material.

  • Analogue Skills for Design at the University of Bath

    Analogue Skills for Design at the University of Bath

    Today at the University of Bath I am running a workshop on Analogue Skills for Design. This workshop fuses material from my conceptual design teaching with my observations from the Analogue Skills project, my attempt to collect and curate less digital ways of doing things in case we need to use them again.

    Creativity and design as human skills

    A key thread that runs through my design and creativity teaching is that these are very human processes, which are deeply impacted by individual’s connection to themselves, each other and the environment which supports them. 

    At the individual level, creativity is hugely influenced by our emotional and physiochemical state, the relationship between our conscious and subconscious and our unique combination of lived experience. At a group level, how ideas emerge in a collective consciousness and become the work of many is influenced by relationships, accessibility and the many facets of working culture. And of course we all live in the physical world, the world that we are trying to shape. How we move through and experience that physical world – not in our heads but as moving inhabitants of space – influences how we respond to and act in that space.

    All of these factors are features of how we design, not as purely rational, reason engines, but as emotional, physical human beings.

    Analogue Skills

    Another ability of humans – although not unique to humans – is the ability to create tools. Taking a lever as both an example and a metaphor, our tools enable us to multiply our efforts. The tools we use shape our perception of what is possible, and so influence how we perceive the world. 

    Over the last five years or so I have become increasingly interested in how our tools, and in particular our newer, digital tools influence how we think and live. Because while we have always been influenced by our tools, the rate of introduction of new, digital tools has become so rapid that in less than a generation, our tools have transformed the way we think, feel and behave. 

    I experience this personally because I am a Xennial, someone from a sub-generation that grew up without internet enabled computers but who has spent their whole working life with one. Xennials are halfway between digital natives and digital immigrants. I feel this timing of my up-bringing gives me insight into two different ways of thinking, what I loosely call the more analogue and the more digital. These two ways of thinking can be very different. Take the simple example how to organise information. In the analogue world, information is carefully indexed and prized because it may not be possible to find it again. It is a paradigm of scarcity but also care. In the digital world, the natural assumption is the information is searchable and always available and so information itself is de-valued. This is a paradigm of abundance but also of less care. 

    From this perspective,  individuals become more and more dependent on these new technologies, I see that what once was a tool that served us, these technologies have become a tool to manipulate us. From user to used. With dependency comes fear. How could I ever live without it? But so ubiquitous is our internet-enabled world that we risk forgetting the ways we could live and flourish without computers in our pockets.

    The Analogue Skills Project is my attempt to record less-digital ways of doing things before they get forgotten so that we can use these to evaluate what technology we do and don’t want. It is an attempt to build resilience and reduce dependence on technology that may not always be there to help us. It is my hope to find a more human balance between the analogue and the digital.

    See my collection of analogue skills so far.

    Human operating system

    I see each analogue skill as a way of liberating ourselves from digital dependency and to discover something that it turns out we can do ourselves as humans: each one is a clue to the workings of the human operating system.

    To accompany the growing list of skills I have also created the Analogue Skills Manifesto, which is an invitation to resist the digital pull and rediscover what you can do as a human being:

    • Don’t delegate autonomy to the machines
    • Resist a mediated experience
    • Resist life as content
    • Re-discover old tech
    • Much less is much more
    • Welcome uncertainty
    • Don’t get things done
    • Share, swap and learn from others
    • Relish company
    • Seek nourishment in time alone
    • Embrace friction, embrace inconvenience
    • Forget the unimportant and remember the valuable
    • Ground yourself and find your bearings
    • Use your hands and your senses
    • Concentrate
    • You have everything you need.

    Analogue Skills in Design

    Bringing these two themes of work together, what are the analogue skills that we bring to design that we risk forgetting if we don’t use them, and are worth rediscovering if they have already slipped away?

    Looking through my design teaching deck, there are many concepts which are already analogue, and so I am putting them together here:

    These are skills that we are going to experiment with today. These are things that you can do because you are human. There isn’t going to be a software upgrade. You don’t have to pay a license fee. You can share these tools with whoever you like, and when the internet goes down, you will still be designing. I should also add that these tools don’t stop you from using digital tools – they are here to help you choose.

  • Act it out – embody your ideas

    ‘Act it Out’ is my favourite technique for shifting creative thinking from the mind to the body. This post is another in my series on Turning the Kalideascope, ways to form new connections in the creative process.

    Engineering has important roots in Enlightenment thinking. The Enlightenment put us firmly in our heads, as abstract, rational thinkers. We take inputs from the outside world, process them and develop a reasoned response. Through this approach, humans have made great progress on some fronts. But this separation from our bodies and our environment comes at a cost. We forget that we are not apart from but in and part of a physiology that itself is situated in an ecosystem.

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  • Changing the key system to generate new ideas

    Changing the key system is a technique I teach to help people develop new ideas when their thinking has become stuck. It’s one of my techniques for ‘turning the Kalideascope’. In other words, it’s a way to find new creative connections between all the inputs we have gathered.

    What is the key system?

    Design is creating something new. If it already exists, it isn’t design: it’s shopping (for more on this see my post on the Designer’s Paradox). I usually find that the overall shape of that new thing is defined by the answer to a few key questions.

    For example, the overall shape of a city master plan might be defined by the answer to the question: how do we manage surface water. In a tall building, the key question is how do we manage lateral loads. For a song, it might be the rhyming structure or the chord progression.

    In each of these situations, the key system, then, is the flood water system, the lateral stability system, the rhyming structure or the chord sequence.

    The answer to these big questions has such a dominant effect on the solution space that, once they are set, the rest of the ideas develop within these parameters.

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  • Rethinking our relationship with our ecosystem

    Yesterday I was writing about what to do after declaring a biodiversity emergency. My conclusions was that the process starts with rethinking our relationship to our ecosystem. Not how can we do something to our ecosystem but how can we work with it. Today I want to get into more ways that we can achieve this shift in the way we think.

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  • Turning the brief into requirements we can test

    In my last post I asked how do I know if my ideas are any good? My answer was that a good idea is one that meets the requirements of the brief. In this post I turning the brief into requirements we can test – and how the process can be surprisingly creative.

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  • How do I know if my ideas are any good?

    How do I know if my ideas are any good?

    It’s a simple question. When I ask people what they want to get out of a training course with me on design or creativity, a common answer is ‘greater confidence that my ideas are good’. But how do I know if my ideas are any good? In this post I provide an answer that is simple, but that has deeper consequences.

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  • What is conceptual design?

    What is conceptual design?

    This post has moved and along with my other conceptual design teaching tools is now hosted on the Constructivist website here.

  • How describing design as a process helps teach design

    How describing design as a process helps teach design

    This post has moved and along with my other conceptual design teaching tools is now hosted on the Constructivist website here.

  • The Designer’s Paradox – the key to unlocking the brief

    The Designer’s Paradox – the key to unlocking the brief

    For me the Designer’s Paradox is a key concept in helping people understand what the process of design is. The term was coined by my colleague at Think Up Ed McCann.

    The Designer’s Paradox states that the client doesn’t know what they want until they know what they can have

    Ed McCann – see Think Up (2018). Conceptual Design for Structural Engineers (online) – notes and resources. Available here [Accessed: January 2021].

    In this post I’ll explain why I think this observation is so useful and how we can use it.

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  • Apply the OOOOOO

    In my second post on building creative surplus – the time and energy we need to invest in creative thinking – I describe the OOOOOO, an approach for overcoming organisational overwhelm and takes away our creative time,

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  • Creative surplus and how to get some

    Creative surplus is what you invest in order to create new ideas. Like operating surplus – or profit – it is what is left over when an organisation or individual’s basic operating needs are met, which is available to invest in growth of the next project. Rather than pounds and resources, creative surplus is the mental space and energy available to you to think creatively. Unlike profit, I see that creative surplus is something that most organisations spend little time thinking about.

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  • Think, feel, do – shorter emails

    I picked up this tip at home yesterday – thanks Mary. It’s a formula for getting to the point when writing emails. What do you want the person to think, what do you want them to feel and what do you want them to do. That’s it. You can save background context for another time for further down the email if you wish.

    As an added challenge, see if you can get it down to three sentences.

  • Two facilitation lessons from Strictly

    Facilitation means making something easier. It isn’t about controlling; it’s about following, listening and enabling. In a workshop setting, it’s about having the confidence to let go of control and see what happens, and if things don’t go as expected, being confident to step back in and help everyone get back on track.

    Watching the Christmas Day Strictly Come Dancing highlights show I saw two pieces of facilitation gold, which are a lesson in what to do when things go wrong and how to put them right again.

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  • Seneca says don’t be scruffy – trawling this blog for sales advice

    Today I’m preparing for a session I’m giving at the University of Cambridge tomorrow on how to sell ideas. To help prepare, I’m going back through old posts to gather materials on the art of selling. Here is the best of what I have found.

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  • Asking what if – change the frame for new ideas

    Asking what if – change the frame for new ideas

    Asking what if. It’s my go-to technique for stimulating rapid idea generation in groups. In this post, the latest in my series on creative thinking tools for projects, I am sharing another tool for Turning the Kalideascope. In other words, mixing up what we know about a project to help find new ideas. In this post I explain the thinking and then I share a method for facilitating this approach in groups.

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  • Use your Professional Palette

    Use your Professional Palette

    We move now in my series of posts on tools for creative thinking from gathering inputs to stimulating new connections. This is what I call ‘Turning the Kalideacope‘. The first technique is called ‘Use your Professional Palette’, and it builds on a technique for Filling the Kalideascope we discussed yesterday. It also provides a bridge from gathering inputs to processing them. First, let’s talk about the pre-requisites.

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  • Preparing the colours for your Professional Palette

    Preparing the colours for your Professional Palette

    There are some inputs to our creative process that we build up over time so that we are ready to draw on them whenever we work on a new project. In this next post in my series on creative thinking tools for projects, I will share with you another source of inputs for the Kalideacope. I call it the ‘preparing the colours for your Professional Palette. These are the set of colours from which you paint your ideas. The image this phrase conjures up for me is of the Impressionist painter spending time in their workshop in Paris getting their paints ready before they get on a train from the Gare St. Lazare, head out into the Normandy countryside and paint a landscape. You have to do the prep in the workshop before you can go out and paint. But how does this apply to us?

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  • Creative thinking tools for projects: the Eiffel Over guide

    Creative thinking tools for projects: the Eiffel Over guide

    We need creative thinking tools in our project toolkit to get the most out the opportunities that a new project offers. Projects provide a setting in which people can come together. They provide a focus point for joint attention. They can lead to outcomes that are probably far greater than what we could achieve on our own. In organisations we rightly focus effort on achieving project goals within project constraints – this is project management. But what I think gets neglected is investing in the creative thinking will help define those goals and help reach them in new ways.

    The need for creative thinking in setting goals and figuring out how to achieve them is greater than ever before. The climate and ecological emergencies show us that the usual ways of thinking have failed us. We need new thinking. We need creative thinking.

    I have spent much of the last five years researching, developing and teaching practical creative thinking tools. People use these tools to help develop their personal and team-level creativity in projects. Based on feedback from workshops with hundreds of engineers and other professionals, I have developed a shortlist of tools and techniques that have the most impact: either in terms of how they help people understand creativity; or how they empower people to be creative with more confidence.

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  • Filling the Kalideascope – inputs from colleagues

    Together, the people around you know so much more than you do. In my last post for now on Filling the Kalideacope – gathering inputs for the creative process – I am suggesting that you tap into the vast resource of information and insight that is the people around you. Ask them about the context, the setting of the brief. Ask them if they have done anything similar themselves. Ask them what ideas the brief inspires in them. How does the project make them feel?

    And then they speak, listen. Don’t interrupt. Don’t pitch in with your idea. See where the train of thought takes them and go along with them on the ride.

  • Filling the Kalideascope – previous projects

    Filling the Kalideascope – previous projects

    Humans tend be to attracted to novelty – Oo, the shiny new thing – but sometimes what we need is in what we know already. This post is another in a my series on ‘Filling the Kalideascope‘ – gathering inputs to the creative process. Today’s input is your previous project work.

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  • Filling the Kalideascope – go to site

    This post has moved and along with my other conceptual design teaching tools is now hosted on the Constructivist website here.

  • Brief explosion –  starting a creative project

    Brief explosion – starting a creative project

    This post has moved and along with my other conceptual design teaching tools is now hosted on the Constructivist website here.

  • Filling the Kalideascope – creative inputs over time

    Filling the Kalideascope – creative inputs over time

    Yesterday I wrote about the inputs you might gather at the start of a creative project. These are what I call inputs in the moment. But there is a different sort input that is only available to you if you put in the work to gather them. I call these creative inputs over time.

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  • Filling the Kalideascope – creative inputs in the moment

    Filling the Kalideascope – creative inputs in the moment

    In my last post I described the Kalideascope as a tool for having ideas. You fill it with inputs and then turn it to create new the connections between those inputs which constitute new ideas. In this post I will give an overview of the different kinds of inputs to the creative process you might look for.

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  • Curating information for creativity

    Curating information for creativity

    In this third video in my series on creative thinking, I go into the concept of curating inputs to the creative process. The combination of our brain and body makes for an awesomely powerful creative machine. We can use our bodies to explore and gather a wide range of inputs and then we can use our arms and fingers to manipulate and rearrange elements within our wide field of vision, and yet much of our creative work is blinkered by computer screens, or worse reduced to the width of a phone. In this video I ask viewers to think about how they can arrange their creative inputs to make full use of their creative faculties.

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  • Build a Kalideascope for creative thinking

    Build a Kalideascope for creative thinking

    In my last post I cited James Webb Young’s definition of an idea as being a new arrangement of existing elements. He goes on to suggest having an idea is like using a kaleidoscope. As I explain in this second video on creative thinking, in my teaching I encourage participants to create their own kaleidoscope dedicate to generating ideas – a Kalideacope.

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  • What is an idea?

    What is an idea?

    This week I have begun creating a series of videos to share my teaching on how to have ideas. The videos start with what simple question, what is an idea. The definition I use, provided by James Webb Young in his 1965 book ‘A Technique for Producing Ideas’ is pragmatic – it gives us tangible ways to work on improving our creative thinking.

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  • Unreliable briefs – finding the deeper design narrative

    Unreliable briefs – finding the deeper design narrative

    It is tempting to think of a design brief as wholly reliable, a document that contains all the information necessary to execute the design. But design briefs are rarely as reliable as that. In fact we should expect them to be unreliable to start with. Our job as designers is to make our briefs more reliable. To help, I have been playing with the literature concept of the unreliable narrator to help characterise types of unreliable briefs.

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  • Superpowers for Creative Design

    Superpowers for Creative Design

    Superpowers for Creative Design is the name I gave to a one-page summary of my undergraduate creativity teaching at Imperial College. This is my first draft. I like the idea of creativity being a superpower. I am sure that people who can channel their creative thinking will have a great advantage in the future.

    The diagram brings together material from other posts on this site. I describe the Kalideascope concept in ‘How to have ideas – guidance for engineers and other humans‘. And I wrote about the concept of a creative system in ‘9 Ways to Build Creativity in your Organisation‘.

    Drawing this diagram I found a nice interrelationship between all this material. To have ideas we need to draw upon information. That information comes from the things we see, the books we read, the website we look at. But critically it also comes from talking to others. How we interact with one another has a big impact on the quality of thought exchange. With the right interaction, ideas can sparked off of one-another and can be transmitted to others, and form the basis of their ideas.

    Underlying it all is behaviours, and within that self-discipline. Mastering that self-discpline is a great strength – a superpower!