Rock a 60-minute work session

There's a big difference between the way teams collaborate when they’re in a facilitated design workshop and when they’re left to their own devices.

In many instances the difference is clear, and there are observable behaviors that illustrate it: Is the team seated or standing? Are all teammates actively participating? Is there more action or talk of taking action? Are teammates rushing around or lallygagging?

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Creating space for idea capture

I hide my clutter. I push it under rugs and stuff it in drawers. This clearly has its disadvantages. So, recently, I have tried to cut into my clutter piles by getting rid of the things I don't need. I have also been challenging myself to part with items I think are essential. When it comes to ideas, I operate in a very similar fashion. I tend to store my ideas in my head. I stuff them under rugs and in closets, expecting them to stay put and ready for me to retrieve them. But ideas are not like coats and tote bags. They have a habit of disappearing when you need them most.

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d.compress: Designing for discovery & intent

Students gathered at the at the end of the 2014 fall quarter to participate in d.compress -- an event meant to help them synthesize the previous quarter and look forward with intent. (Olivia Vagelos) A workshop was held at the just before students left for the holidays. Aptly called "d.compress", it offered students an opportunity to retreat from the stresses and pressures of the fall-quarter finals period.

The event was organized by Course Production Lead and Stanford alumna Tania Anaissie and Stanford alumna, designer and entrepreneur Olivia Vagelos. Invitations were sent out to the community with a sign-up sheet. The event was geared primarily towards students and, as the weather turned rainy, came with the offer of hot chocolate and cookies.

Curious, I signed up.

We gathered in the media production studio (nicknamed "Studio 4") on the second floor of the The room is small, cramped and generally locked. But Olivia and Tania transformed the space into a lounge. There was soft lighting, music and, yes, hot chocolate and cookies.

The participants came from a variety of educational ranks — everyone from undergraduates, to graduate students and fellows.

The group was large but still fit the space. Olivia and Tania took us through a getting-to-know-you game called "Party, Park, Jail." The exercise was meant to help students get to know one another, open themselves up more so than they otherwise would and acknowledge who and where they were in that particular moment in time.

We were then asked a series of questions, such as:

  • What do you spend a lot of time doing?
  • What are you good at?
  • What do you enjoy doing?

Then, based on the answers, we filled in a map -- the skill print. We were given a scaffold in the form of a 2-dimensional topography. Peaks represented emerging skills. Valleys represented the skills you felt more confident in. Peaks were represented by one color, valleys by another. You could add extra growth patterns to show steeper inclines and declines. You could shade in the levels differently, with darker shading representing steeper gradients.

Fault lines represented points of great tension or conflict. Rivers were meant to show what helped to refresh or replenish you.

The map students were given in d.compress to represent their skills, both deep and emerging, their stress points and more during a workshop held prior to winter break at the (Olivia Vagelos)

If the skill print sounds familiar, that may be because you’ve encountered it as one of the four prompts from design work conducted at the This body of work has come to be known as Stanford 2025. The work was done to explore the future of living and learning at Stanford. The skill print — an idea that emerged as a potential replacement for the transcript — emerged from that.

This isn’t the skill print, of course. That doesn't exist -- at least not yet. This is a prototype Olivia and Tania developed for the purposes of the d.compress exercise. Someone else may imagine it to look and feel differently — a finger-print, say, instead of a topographical map.

The goal was to create a tool for discovery rather than display. Olivia and Tania sought to answer this question: How might you get people to surprise themselves, find new connections and make new meaning out of what they have.

“We wanted this exercise to be a chance for students to reflect on skill sets they’ve developed up to this point and also an opportunity for students to gain clarity around what skills they want to further develop moving forward," said Tania via e-mail. "We hoped this would help them plan their next quarter and remainder of time at Stanford with intent.”

The 23-year old designers and former classmates toyed with a string map before settling on a topographical one. They also decided to give everyone the same starting map (above). The goal was to have a static representation of a dynamic system with the finished product being a snapshot of an individual’s experience.

In terms of the map itself. There was some debate as to whether the map should be two dimensions or three. They settled on a two-dimensional map representing three dimensions.

Olivia was excited by the idea of a physical, 3-dimensional map with fully-realized peaks, valleys and fault lines. But she recognized that raising the resolution of the map introduced a tension. On the one hand, a higher-resolution map could give someone greater creative agency and grow their creative confidence. Then again, it could also leave someone feeling disappointed if they failed to have their grand vision well-articulated.

That said, Olivia and Tania were surprised at how inclined participants were to be visual and less verbal on their maps. The team expected people to write more, instead they drew more. The duo was surprised by how easy it seemed to be for participants to fill in the fault lines.

"Usually it is difficult for people to admit and articulate weaknesses and insecurities," said Olivia, "I think there was something in the framing of it instead as "tension" that was important."

When asked what they would change, Olivia turned to the map’s peaks and valleys. “There were so many valid ways to interpret this metaphor," she said, "but then you also have to pick at some point.”

There was also the question of how detailed of an example they should give. “We would have liked to give them a more specific example of a peak and a valley that was more story-based and narrative-based."

If you are interested in conducting a similar exercise with your students, community or organization. Here’s Olivia’s recommendation: “Push yourself to make meaning out of the opportunities of the metaphor. ... Give yourself the opportunity to go there.”

Also, don’t feel constrained by the tool provided here. "This is just a baseline,” said Olivia. "My goal is to always try to surprise yourself and let yourself go down the rabbit hole a little bit. ... Don’t just stay on the surface."

'Design School X': Prototyping a new school

Two of the fellows -- David Clifford and Jae Rhim Lee -- are launching their design sprints today at the This means that both fellows will start working with their design teams on key aspects of their projects. The design teams are made up of the remaining fellows split into teams of two -- one for David, the other for Jae Rhim. Jae Rhim is an artist and researcher. Her project centers around death-care, particularly how to improve the ways individuals address, process and otherwise prepare for dying and death. We'll have more on her project here in the coming days and weeks.

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History, learning & complexity: A conversation about design

Two of our fellows, SAP Chief Design Officer Sam Yen and Mark One Vice President of Design Jason Mayden joined Global Director and Co-founder George Kembel on an episode of "Future of Business with Game Changers" in November. The program was broadcast on SAP Radio and hosted by Bonnie Graham. The conversation starts with Jason and the power of looking backwards as well as forward in design.

"I find my greatest inspiration in history," he said. Humility also emerged as a central theme.

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Sticky notes, blocks & butcher paper: Planning style

It's finals week here at Stanford, so things are pretty quiet at the The silence, however, does not indicate the absence of activity. In fact, I'd be willing to bet that things are just as active as they were during the height of the quarter. The difference: We're in planning mode. Next quarter, we'll be introducing experience assistants to the team-teaching model at the Think teaching assistants, except rather than assist with the teaching of the class, they are focused on student experience. What warm-ups should be used, how should the flow of the class go, when and how should the teaching team collect and administer feedback? Ultimately, of course, the experience of the experience assistant will be determined by the dynamic of the teaching team they join, the class topic and, of course, the students.

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Could design thinking unlock Washington's gridlock?

(Photo by Flickr user Ron Cogswell) It is nearly impossible for Congress to become less popular, with progress on policy difficult-to-impossible. Just ask members of Congress.

Oh, wait, Esquire's Mark Warren did that. Sadly, it seems members are about as fed up with congressional gridlock as the people they are charged with serving. Now, what if design thinking were applied to this particularly thorny set of challenges? Does capitalist democracy need design thinking?

That's what IDEO's Tim Brown and the University of Toronto's Roger Martin tackled in a conversation moderated by IDEO Editorial Director Shoshana Berger. Tim is IDEO'S CEO and President, while Roger is the Academic Director of the Martin Prosperity Institute at the Rotman School of Management at the University of Toronto. An excerpt of the conversation was posted by the Harvard Business Review earlier today.

At one point, when asked about the role design thinking could play in assessing the infrastructure of the democratic capitalism system, Tim replied:

"The underlying pieces of infrastructure — the education system, the health system, the way we design and build our cities, and even our financial system — rarely get looked at from a design perspective. What happens if you radically redesign this system, or what happens if we radically evolve this system over time in order to meet some purpose that we’re clear about and in order to meet the needs of the participants in this system in a better way than we’ve being doing it?

These are design problems. We need to use the techniques and methodologies of design to bring hypotheses and proposals out into the world much more rapidly and try them out and evolve them in real life, rather than spending months, years, or even decades writing hypothetical reports in policy think tanks where they doesn’t actually have much of an impact in the end. We also need the skills of storytelling that come along with design to helps describe new possibilities in ways that can create some action."

As I mentioned, the rest of the conversation is available via the Harvard Business Review and the full transcript is available via The Martin Prosperity Institute. What do you think? What (if any) role can or should design thinking play in bringing an end to Washington gridlock, and reviving the democratic capitalism system?

(Source: Harvard Business Review)