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.Continue reading “Rethinking our relationship with our ecosystem”
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.Continue reading “Turning the brief into requirements we can test”
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.Continue reading “How do I know if my ideas are any good?”
For anyone attending one of my conceptual design training courses, the second question I ask is what is conceptual design*. In this post I’ll give the definition I use and why I find it helps trainees.Continue reading “What is conceptual design? – the defining features”
One of the first questions I ask people in my conceptual design training is can you define design as a process. In this post I explore why describing design as a process helps teaching and learning about design. I then share three models for describing design as a process, including my own.Continue reading “How describing design as a process helps teach design”
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 haveEd 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.Continue reading “The Designer’s Paradox – the key to unlocking the brief”
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,Continue reading “Apply the OOOOOO”
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.Continue reading “Creative surplus and how to get some”
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.
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.