Big Design Tools by lbattestin

BIG DESIGN TOOLS: CREATIVITY

THE TEAM MICHAEL BOU-MAROUN M.A. DESIGN MANAGEMENT CANDIDATE

RAFAEL DIAZ M.A. DESIGN MANAGEMENT CANDIDATE

LIZA BATTESTIN M.A. DESIGN MANAGEMENT CANDIDATE

TABLE OF CONTENTS Part 1. HIGHLIGHTS FROM READINGS AND PERSONAL EXPERIENCES 1.1 Can Creativity Be Taught? 1.2 Implications of Culture 1.3 Intuition and Intuitive Thinking 1.4 Culture and Management 1.5 Can You Form Creativity Through Leadership and Teamwork? Part 2. IDEA INTO PRACTICE 2.1 Mapping a Plan 2.2 Midterm Run Through 2.3 The Client 2.4 The Meeting 2.5 Our New Plan 2.6 Facilitation Part 3. MANIFESTO Part 4. CONCLUSION Part 5. REFERENCES

01 CAN CREATIVITY BE TAUGHT?

In the 1990’s there was a shift to believe

Creativity has evolved from a “divine gift” to be

creativity was an “emerging phenomenon that

something everyone has the capability to do if

considers social context.” (Henry 2013) . It can

they just work hard and surround themselves

be broken down into several categories to help

with creative people who help push their

define where ones creative skills can emerge:

boundaries (Janaki 2016).

Ability, Style, Skill, Experience, Motivation, and Organizational Structure. (Henry 2013).

As we started to design our workshop, we understood that our client may not be what we call “creative individuals”, but it was our goal to draw that out from the individuals. Through our creative management reading, we learned that if we wish to produce creativity we have to engage somewhere between collaboration and play. We set out with the intention to think of creativity as being something that anyone can achieve if they are able to see the problem or goal differently to reach a desired outcome.

IMPLICATIONS OF CULTURE

The pervasive nature of culture has direct implications on an individualâ&#x20AC;&#x2122;s identity, working style, and

In this respect, we as a group set out to respect each other. We are each from different backgrounds and

organizational interactions. From their decision making process to the ability to work in a group, where an

cultures, we seek to understand each other and build upon our differences. As such, we hope that we can

individual was raised and HOW they were raised affect their day to day life. The implications of that have a

inspire our clients to do the same. By examining their organizational culture, we hope they will be able to

direct affect on how one, as a facilitator, must manage or work with said individual.

identify the sources of issues within the company. We selected tools we felt would be beneficial in helping them to break down their issues and re-frame them to see them in a new light.

03 INTUITION \INTUITIVE THINKING

Agor describes intuitive thinking within as a subspecies of logical thinking.

“At any given moment one is conscious of only a small portion of what one

Intuition is a sense or vision based on an innate capability. It draws upon

knows. Intuition allows one to draw on that vast storehouse of unconscious

previous experiences and can be applied in rapidly changing environments.

knowledge that includes not only everything ihat one has experienced or

It’s power comes from recognizing when you make intuitive decisions.

learned, either consciously or subliminally, but also the infinite reservoir of the collective or universal unconscious, in which individual separateness and

ego boundaries are transcended.”

- Frances E Vaughan, Awakening Intuition

The beginning tool selection for our was based on intuition. We examined our leadership qualities, our cultures, backgrounds, strengths and weaknesses and crafted a plan that encompassed several tools to use. We then, after trial and error in run throughs, were able to add these experiences to build upon in the future.

CULTURE AND MANAGEMENT

Organisational culture can have considerable

An organisation sends messages to its staff

impact on communication, problem solving,

through everything it does, from the official

decision making, learning and motivation. On

contracts of employment, offices and training to

the whole more open organisational cultures are

the accessibility of the coffee machine and the

associated with more creative output and tighter

stationery cupboard. (The Open University)

cultures with greater efficiency of output (e.g. Ekvall, 1997).

A core element of management is understanding teams and organizations are built around people. Accordingly, effective management has to find ways to align personal beliefs of team members with those defined by an organization. At the same time, working in teams should aim to find a balance that celebrates diversity to enrich creative processes with alternative points of view and backgrounds.

CAN YOU FORM CREATIVITY THROUGH

LEADERSHIP TEAMWORK

AND

‘Team building is the process of selecting and

“The influence and usefulness of team leaders

grouping team members effectively and devel-

comes, not from their delivery of traditional

oping good working relationships and practices

supervisory and control methods , but from the

enabling the team to steer and develop the work

front and in training, coaching and counselling

and reach their goals’ (The Charted Management

their team members to high standards of

Institute)

performance’’ - Gratton

For this course and our workshop, we were curious to discover the root of our problems. As a team, we felt confident in our working capabilities as leaders to help steer our clients toward their goals. We sought to provide them guidance while breaking down issues they were faced with from within their company. From our readings, we learned often times constraining problems can cause people to re-frame how they would approach the desired solution. It is our place as leaders and a team to help be the voice of reason to our clients and guide them to way in which they would be able to reach a solution.

MAPPING OUT A PLAN

You cannot map out the full structure of a co-creation system at the start. You must piece it together gradually, like a jigsaw puzzle.

(HBR, COMMUNITY POWERED PROBLEM SOLVING, APRIL 2013)

Ironically we set out with a plan, albeit a loose roadmap, of tools we wished to use for our client workshop. We were able to do a few trials with our fellow coursemates to test out whether these would be effective or not and if they would fit cohesively within the co-creation session.

MIDTERM RUN THROUGH

These tools were selected using our INTUITION. Knowing how we work, our personalities and how

ICE BREAKER

we relate to teach other.

ISSUE EXPLORATION

IDEA DEVELOPMENT

Browsing Causal Mapping Who Are We? Timeline Multiple Redefinition

Sculpture Forcefit Game

IDEA SELECTION Component Detailing Consensus Mapping Progressive Hurdles Negative Brainstorming

SOLUTION IMPLEMENTATION Implementation 5 Ws and Hs Factors in Selling Ideas Catwoe

1 2 3

Simple and Cohesive Simplify the ice breaker simplify all tools and techniques Make connections between the tools

Define a Goal and Problem Find the best way to address it without it being too leading -How do you approach your client and discover something they want to fix? -What brings out the issue? -What do you like about it? -what do you dislike?

Time Constraints Establish time constraints and keep track of them in order: - Spark creativity. - Make the participants move through all the activities.

Club One is a gay entertainment venue here in Savannah. Open to all patrons, Club One hosts

THE CLIENT

concerts, drag shows, fundraisers, provides a space for collaborations with other performers and organizaions and memebers of the gay community in Savannah.

Famous for the legendary Lady Chabliss, featured in the Midnight in the Garden of Good and Evil, Club One is a safe space that welcomes all. Club One has been a part of the Savannah LGBTQ community for more than thirty years and continues to be a safe haven for all who enter. From the younger to older generations, it is a place where the LGBTQ community comes to congregrate and create a strong bond.

After choosing an organization in which we, as a team, were passionate about, we set out to discover what Club One would like to gain from a workshop with us. Our team was clear in explaining to them that this workshop was to be facilitated by us; we would serve as guides but ultimately, the end results would be things they had the clarity and initiation to begin themselves.

THE MEETING

THE PARTICIPANTS

TREY ASSISTANT MANAGER

TRAVIS GENERAL MANAGER

TODD TALENT COORDINATOR

CLOSING THE GAP BETWEEN THE EMOTIONAL STAKEHOLDER AND THE PROFITABLE STAKEHOLDER. “If we make enough money on a weekend, they are pretty much all set for the week” Money comes specially from the shows Emotional

Strategic

Gay community thinks that once you’ve seen a drag

getting money from bachelorette parties because

show you’ve seen them all. Worth noticing because

this stakeholder is always excited about what the

it limits the amount of money that comes in and also

shows have to offer. Rationally, it creates income

important because out most important stakeholder

but emotionally it makes us lose equity with our

is the one thats not making our business grow

major stakeholder, the gay community

HOW DO WE BRING THESE TWO WORLDS TOGETHER?

DISCOVERING COMMUNICATION OPPORTUNITIES TO ALIGN DIALOGUE BETWEEN MANAGEMENT AND ENTERTAINERS “There is a huge divide between management and entertainers” Communication within the club is lacking Management

Entertainers

Survival

Would like to find ways to better communicate their

This is not their primary meal ticket so many of them

Communication plays a key part in not only the

needs to the entertainers and create an aligned

feel as though they do not need to put up with what

survival of Club One, but the gay bar culture in

dialigue within the club

management requests of them

general due to the threats that technology and visibility have put on this industry

HOW DO WE CREATE A BETTER DIALOGUE BETWEEN MANAGEMENT AND ENTERTAINERS?

IGNITING PASSION AND CREATIVITY TO BOTH VETERAN ENTERTAINERS AND NEWCOMERS “We have a great divide between the new entertainers and veteran entertainers” Finding drivers that make them both succeed Veterans

New Comers

Lost their passion and mostly put on a repetitive

Creative and inventive and have the ability to

show. Management doesn’t feel they really make

present something new more often than veterans,

an effort to innovate. Enforces mentality of gay

however, there are not as many in numbers as the

community that said once you’ve seen a drag show

veterans

you’ve seen them all

HOW DO WE FERTILIZE/ FOSTER NEW TALENT WHILE IGNITING PASSION IN VETERANS?

THE THEMES

These themes were created as a way to address the business challenges of Club One from our meeting. By creating three different themes, we were able to identify which one we felt combined elements of a business solution as well as an internal cultural and management issue.

We set out to attempt to reignite passion and creativity within the organization. We felt that ultimately, this would be a key success factor in creating organizational creativity. We recognize that creativity, pressure, competition and changes in organizational structure can lead to overall creativity. Additionally, by rediscovering their emotional connection to the venue, our clients will ideally be more compelled to implement the results created within the workshop.

OUR NEW PLAN

Knowing how the midterm run through went, and then being a part of another workshop, we edited our choices in order to create a more seamless and planned workshop with good results.

ICE BREAKER

ISSUE EXPLORATION Bug Listing Wish Listing

IDEA DEVELOPMENT/ SELECTION Emoji Persona Design Pyramid Five Wâ&#x20AC;&#x2122;s and H

SOLUTION IMPLEMENTATION Component Detailing Hurdles and Timeline

The day before the client workshop we facilitated the exercise

DRESS

REHEARSAL

to two of our classmates. The purpose if this activity was to rehearse the roles of team members, identify any technical problems that may arise, get comfortable with the process and getting suggestions from our peers.

The following changes were applied to the workshop:

Emoji Persona Assigning a specific sticky note color to each emoji on the activity

Design Pyramid When filtering ideas, instead of requesting 1 idea from the participants, asking for 3 ideas.

5Ws and Hs Changing the last question “Why is it important?” for “Who will be involved”?

FACILITATION

CLUB ONE FRIDAY, MARCH 2, 2018 5:30 PM SAVANNAH, GA

ICE BREAKER â&#x20AC;&#x153;Write the name of the person next to you, where they are from, and their guilty pleasureâ&#x20AC;? LEARNING Most of your favorite activities stem from passion and enjoyment. Today, we are going to explore passion within the organization SUPPLIES Pens/ markers, paper, timer (1 min to write and 2 min present)

ISSUE EXPLORATION Bug Listing

STEPS Make paper available for each person Instruct them to complete the sentence: “There is a lack of passion in…” Give them 1 min Then pass the paper to your right and continue for another minute, then to the right for another minute, and a final time for 30 seconds Compare and discuss for 2 min LEARNING Bringing out all issues where participants see a lack of passion within the organization

WISH LISTING

BUG LISTING

STEPS

Make paper available for each person

Make paper available for each person Instruct them to complete the sentence:

Instruct them to complete the sentence:

“There is a lack of passion in…”

“I wish to see… @ club one”

give them 1 min

Then pass the paper to your right and continue for

another minute, then to the right for another minute,

and a final time for 30 seconds

Compare and discuss for 2 min

LEARNING

Bringing out ideas and desires to see implemented

Bnging out all issues where participants see a lack of

within the organization

passion within the organization

Supplies: pens/ markers, paper, timer (5 min)

EMOJI PERSONA

DESIGN PYRAMID

STEPS

Make paper available for each person

Take the ideas with the most reactions and rank them

Write down the top 9 ideas between the group on post

in order of importance (most singular smileys on top,

it notes

most sad face on bottom) LEARNING

Each individual is to place a smiley face (or meh, or

Selecting the ideas with the most emotions associated,

sad face) on each of the notes

be that happy, meh, or sad

LEARNING Starting to cluster and organize ideas to filter the best one Supplies: pens/ markers, sticky notes, timer (5 min)

Supplies: previous work, timer (5 min)

5 Ws AND Hs

SOLUTION IMPLEMENTATION

5 Wâ&#x20AC;&#x2122;s and H

Component Detailing

STEPS

Make paper available for the team

Ask them to take each of the three and decide

Have the group select ONE idea from the three to

What do we need to do to?

detail

What do we need to stop doing?

Have them list 5 - 10 details about the idea

Who needs to be involved?

LEARNING

Detailing actions for each idea to create an

Detailing actions for ONE idea to create an

implementation strategy

Supplies: previous work, pens/ markers, paper, timer (7

min)

HURDLES AND TIMELINE STEPS Approach line of tape Pick 5 steps to accomplish goal and talk about hurdles for each step Write down sticky notes Right is the step, Left what can go wrong Start with first step

LEARNING Implementing the solution on a timeline and understanding the possible hurdles we see

supplies: previous work, tape, sticky notes, timer

(10 min)

MANIFESTO

The following are key widsoms which have been comprised of our personal experiences, readings, and co-creation sessions. They help us to argue for the value of design in business and the power it has on creativity. This manifesto is a declaration of our intentions, motives, and views on creativity, leadership, and facilitation.

01 YOUR GOALS

ARE NOT THEIRS

Donâ&#x20AC;&#x2122;t over insert yourself in the clients co-creation session. Just as every parent dreams of certain things in life for their children, we the creators of the workshop only wish the best for our clients. However, all you can do is hope to inspire them and bring out their creative side. As different people, with different backgrounds, your clients will have different goals. It is important they feel their goals are their own. Just like an 18 year old child, they will have to take what you have taught them and go into the world with it on their own to develop.

DONâ&#x20AC;&#x2122;T BE MARRIED TO YOUR IDEAS

This goes for the clients and the creators! Co-creation is about finding the passion and drive to create ideas together. While you may propose an idea, the evolution of the original grain of thought can often be more fruitful than the original idea. You are there to learn from otherâ&#x20AC;&#x2122;s experiences, intuition, and expertise in their own field. Remember, the merging of these elements will help to make a better, well rounded idea in the end.

03 ITâ&#x20AC;&#x2122;S ABOUT

BRINGING OUT CREATIVITY IN TEAMS, NOT MAKING CREATIVE TEAMS

This is one of the most important points and learnings from this course. We know what elements attribute to creative people and how to manage, facilitate and nurture them. But what about people who feel the are non-creative? Those who are too intimidated to even draw a sketch during the cocreation session? As designers, we hope to inspire people to be creative in the way they approach problems or issues. Meaning, the freedom to make their own choices but have a guiding faith in helping see the problem in a new light.

NOT ALL TOOLS ARE FOR EVERYONE

These workshop tools are designed to help others discover, breakdown barriers, reframe and implement solutions of their own design. While you can choose the tools you feel are appropriate for your clients in their co-creation session there is no one fit for everyone. Some tools can be complicated- you must simplify the tool or choose another to help others reach their creative potential. The intent is to help guide them- not intimidate them!

HAVE OBJECTIVE BUT EMBRACE AMBIGUITY

The space inbetween the plan and unplanned can often be the most interesting. As in life, you can make a plan but it can fall by the wayside to address discourse that can arise during the co-creation session. Donâ&#x20AC;&#x2122;t shut down your participants if they begin discussing off topic issues. Help them to draw out which are relevant in the moment. Be their design spirit guide...

PREPARE FOR THE UNEXPECTED

As a team prior to workshops or other co-creation sessions you are able to select tools, create possible road maps, and plan every last moment of time. But in a flash, all these things can change. Faced with adversity through different personalities, cultures, and possible missed signs- it is trusting that you have the knowledge, tool kit and confidence to proceed in a new, and maybe even more, creative way in the face of a challenging co-creator or issue.

NURTURE IT, DONâ&#x20AC;&#x2122;T CONTOL IT

Creativity must be fostered. You must meet someone in the middle between play and work. By creating a warm, inviting environment you are able to allow people the freedom to be creative in their own right. When people feel comfortable, they will rely on those who are more creative around them to inspire themâ&#x20AC;Ś.

WHATS THE POINT OF MOTIVATION

The expression goes, “You can lead a horse to water but can’t make it drink.” The same goes for motivating others. While you can do all the right things, others may just seem content to hang back and not engage. Try finding one person to discuss and relate to the person on the outs. Use what is discussed to draw them back into the conversation of the co-creation session. If in the end, they are still not engaging- don’t sweat it! Just like the tools, this is not for everyone! Creativity will not happen to those who put up barriers. (So engage with others and focus on encouraging one of their peers to get them on board by enticing them with the work that is being produced.)

CONCLUSION

REFERENCES Agor, W. H. (1986). The logic of intuition: How top executives make important decisions. Organizational Dynamics,14(3), 5-18. doi:10.1016/0090-2616(86)90028-8 Burke, L. A., & Miller, M. K. (1999). Taking the mystery out of intuitive decision making. Academy of Management Perspectives,13(4), 91-99. doi:10.5465/ame.1999.2570557 Billings, Douglas and Gouillart, Francis. (2013). Community Powered Problem Solving. HBS No. RD1340D. Boston, MA: Harvard Business School Publishing. Ekvall, G. (1997). Organizational Conditions and Levels of Creativity. Creativity and Innovation Management, 6(4), 195-205. doi:10.1111/1467-8691.00070 Henry, J. (2013). Book 1 Creativity, Perception and Development. The Open University Business School. Retrieved January 7, 2018. Ray, Tim. (2013). Book 2 Creating promising possibilities: what makes better â&#x20AC;&#x2DC;betterâ&#x20AC;&#x2122;?. The Open University Business School. Retrieved January 7, 2018. Janaki, Kumar. (2015, May 6). 7 steps to building a creative culture. Retrieved January 17, 2018, from https://www.weforum.org/agenda/2015/05/7-steps-to-building-a-creative-culture/ Martin, John; Bell, Rosamund; Farmer, Eion and Henry, Jane eds. (2010). Creativity, innovation and change: technique library. The Open University Business School. Wind, Yoram (2006). Managing Creativity. Rotam Magazine, (Spring/Summer 2006), pp. Page(s) 20-23.

FACILITATING CREATIVE THINKING DESIGN MANAGEMENT 732 WINTER 2018 DR. HILARY MOBED COLLINS