Podcasts about Design Council

On The Brief this week, host Fran Williams is joined by Peter George, Strategic Director of Economy and Sustainability at Ealing Council. Government announces a £2 billion pound boost for affordable and social homes // Design Council warns ‘typical' approach to new homes may derail zero carbon goals // Studio Egret West reveals plans for the UK's largest office-to-residential conversion in Croydon // And the London homes pushing raw sewage directly into the Thames To help support excellent and accessible, independent journalism about the buildings and the urban environment, please become an Open City friend by clicking here.The Brief is recorded and produced at the Open City offices located in Bureau. Bureau is a co-working space for creatives offering a new approach to membership workspace. Bureau prioritises not just room to think and do, but also shared resources and space to collaborate. To book a free day pass follow this link.The Brief is produced in association with the Architects' Journal, and the C20 Society.The Brief is also supported by Bloomberg Connects, the free arts and culture app. Hosted on Acast. See acast.com/privacy for more information.

Charlie Brooker talks about the return of his wildly popular tech and sci-fi dystopian drama Black Mirror. This new six-part series includes Paul Giamatti as a man using AI to reconnect to a lost love who has died, Emma Corrin as a digitally recreated 40s screen star and, for the first time, follow-up episodes of two of the show's most popular episodes: Bandersnatch and USS Callister.The Design Council is 80 and is celebrateing with a new book, Eight Decades of British Design. The Chief Executive of the Design Council, Minnie Moll, and Thomas Heatherwick, the designer famous for, among many projects, the cauldron for the Olympic flame at the games in London, reflect on the impact of design on our lives here in the past, now, and in the future.The Women of Llanrumney sounds as if it might be the new Gavin and Stacey, but this Llanrumney was a sugar plantation in Jamaica, the setting for Azuka Oforka's first play which examines the links of Wales with slavery, its brutality, the role of slave revolts in bringing about abolition and, looking at the lives of three women, two enslaved and one enslaver, discusses the nature of freedom. Presenter: Samira Ahmed Producer: Julian May

Join us for an engaging exploration into the heart of the design industry with our esteemed guests, Keith Granet and Marc Szafran, the visionaries behind the Leaders of Design. Listen in as they recount the humble beginnings of this vibrant network, starting with roundtable discussions in various cities and leading to the inaugural Design Leadership Summit in Aspen. Discover how the network has grown over the years, emphasizing community, mentorship, and education. Keith and Marc share their insights on the continuous engagement of members through international conferences, workshops, and the unique Circles of Trust, all while adapting to the ever-evolving needs of the design community.Hear inspiring success stories and creative connections that have flourished within the Leaders of Design community. From business partnerships to personal milestones, Marc highlights the power of networking in transforming project outcomes. Through case studies and personal anecdotes, Keith and Marc illustrate the importance of understanding and protecting one's value in the design industry, particularly during fee negotiations. The Leaders of Design community stands out as a passionate and thoughtful network, dedicated to fostering innovation and growth while emphasizing the importance of educating clients on the value of custom design work.Finally, immerse yourself in the enriching experiences offered by the Annual Leaders of Design Conference, recently held in the culturally and architecturally significant city of San Sebastian. Keith and Marc emphasize the conference's role in fostering collaboration and inspiring fresh ideas through curated interactions. As we look forward to the 20th-anniversary trip in 2026, the importance of community-building and active participation within the network is highlighted. This episode provides a glimpse into the profound impact of community in the design industry, offering continuous learning opportunities and a deeper understanding of the profession's ever-changing landscape.

Welcome back for Part II of this episode of the Business of Architecture Podcast with Enoch Sears and Rion Willard. In this episode, Enoch and Rion dive into the challenges and opportunities that come with running a practice. They reflect on the surprising relationship between personal growth and business success, sharing compelling stories and insights from a recent Design Council event in San Diego. If you've ever felt stuck in your practice or wondered how to unlock its next level of potential, this conversation is packed with eye-opening ideas. Discover how to navigate the "right kind of problems" as your business grows. Learn why some common leadership mistakes may be holding your team back. And hear a fresh perspective on creating opportunities for your team that can transform your practice into something truly extraordinary. What does “choosing your problems” mean, and how can it change your business? The hidden cost of clinging too tightly to control in leadership. A mindset shift that could turn team challenges into powerful growth opportunities. The surprising connection between adaptability and success, both personally and professionally.   ► Transcription: https://otter.ai/u/6N6F5b2sIAKUVMFU_xh6-wS31UY?utm_source=copy_url   ► Feedback? Email us at podcast@businessofarchitecture.com   ► Access your free training at http://SmartPracticeMethod.com/   ► If you want to speak directly to our advisors, book a call at https://www.businessofarchitecture.com/call   ► Subscribe to our YouTube Channel for updates:   https://www.youtube.com/c/BusinessofArchitecture   *******   For more free tools and resources for running a profitable, impactful, and fulfilling practice, connect with me on: Facebook: https://www.facebook.com/groups/businessofarchitecture Instagram: https://www.instagram.com/businessofarch/ Website: https://www.businessofarchitecture.com/yt Twitter: https://twitter.com/BusinessofArch Podcast: http://www.businessofarchitecture.com/show iTunes: https://podcasts.apple.com/us/podcast/business-architecture-podcast/id588987926 Android Podcast Feed: http://feeds.feedburner.com/BusinessofArchitecture-podcast Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9idXNpbmVzc29mYXJjaGl0ZWN0dXJlLmxpYnN5bi5jb20vcnNz   *******   Access the FREE Architecture Firm Profit Map video here: http://freearchitectgift.com   Carpe Diem!

Are you running your architecture firm like a thriving business—or are you just reacting to one crisis after another? In this episode of the Business of Architecture Podcast, Enoch Sears and Rion Willard dive into the hidden challenges successful firm owners face and how to break free from limiting patterns. Recorded on location in sunny San Diego, the conversation is packed with insights from their Design Council event with top-performing clients. Discover the traps that even thriving firms fall into and why some architects struggle to delegate effectively. Enoch and Rion discuss the pitfalls of playing it safe and how it can lead to stagnation. If you're ready to move beyond survival and start playing to win, this episode is for you.   The single mindset shift that separates stagnant firms from growing ones. What architects get wrong about solving client problems—and what to do instead. How to fix the #1 bottleneck in your firm's efficiency. Why delegating isn't as simple as it seems (and how to do it right).   ► Transcription: https://otter.ai/u/8gXUudvTSXbaCv_CD_6zY76Q_Do?utm_source=copy_url   ► Feedback? Email us at podcast@businessofarchitecture.com   ► Access your free training at http://SmartPracticeMethod.com/   ► If you want to speak directly to our advisors, book a call at https://www.businessofarchitecture.com/call   ► Subscribe to our YouTube Channel for updates:   https://www.youtube.com/c/BusinessofArchitecture   *******   For more free tools and resources for running a profitable, impactful, and fulfilling practice, connect with me on: Facebook: https://www.facebook.com/groups/businessofarchitecture Instagram: https://www.instagram.com/businessofarch/ Website: https://www.businessofarchitecture.com/yt Twitter: https://twitter.com/BusinessofArch Podcast: http://www.businessofarchitecture.com/show iTunes: https://podcasts.apple.com/us/podcast/business-architecture-podcast/id588987926 Android Podcast Feed: http://feeds.feedburner.com/BusinessofArchitecture-podcast Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9idXNpbmVzc29mYXJjaGl0ZWN0dXJlLmxpYnN5bi5jb20vcnNz   *******   Access the FREE Architecture Firm Profit Map video here: http://freearchitectgift.com   Carpe Diem!

Deborah Hale MBE has spent her career developing high profile global campaigns. She knows the importance of building brands, navigating complex stakeholders and making change happen by creating enhanced audience engagement.   As employers across the board struggle to resume pre-pandemic levels of organisational performance, Jen, Dom and Cat chat with Deborah to hear what she has learned about creating the conditions that build loyalty and goodwill across diverse audiences. This conversation is a must-listen for any internal communicator looking to drive colleague engagement and imbue a sense of community within increasingly distributed workplaces.   Takeaways   Patience is essential in leadership and communication. Successful campaigns require thorough planning and a clear framework. Engagement is built through consistent and transparent communication. Listening to stakeholders is crucial for effective leadership. Pride in an organisation can be cultivated but not mandated. Personal touches, like handwritten notes, can significantly impact morale. Milestones should be celebrated to maintain momentum in campaigns. Campaigns can lead to movements when they resonate with the public. Cross-functional collaboration enhances the effectiveness of campaigns. Change communication must reflect the realities of employees' experiences.   About Deborah Hale MBE Deborah has a proven track record of developing high profile UK and global campaigns that achieve brand growth, awareness and audience engagement. In all her projects, her starting point is: “what is the change you want to see?” After several years spent promoting the creative industries, she became Head of International Marketing for London, in charge of positioning the capital as a centre of excellence for inward investment, tourism, education and culture. This led to her role as Producer of the 2012 Olympic and Paralympic Torch Relays, in charge of what would become one of the UK's largest public engagement campaigns. She was awarded an MBE in the 2013 New Year's Honours List. As an independent consultant, she has worked with numerous commercial and not for profit organisations such as the Design Council, Permian Global, BBC Children in Need, and the Global Goals campaign.   Find Deborah on LinkedIn: https://www.linkedin.com/in/deborah-hale-mbe-370bb7/

In this episode of the Data Malarkey podcast, master data storyteller Sam Knowles is joined by Bill Wallsgrove, Head of Ideas at Brighton-based communications and design agency, Brandad.   Bill has more than 30 years' experience working in business strategy, brand creation, and communications development. He trained at the London College of Printing and cut his teeth at the legendary design agency, Coley Porter Bell. Bill's worked in 3D design and packaging design. He is also the man responsible for the creation of the McCoy's brand of crisps.   Throughout his career, Bill has been keen to share the tools of his trade with succeeding generations, both through academic and industry bodies. These include the Design Council and the University of Brighton, where today he is an honorary lecturer in the school of Art and Media.   Through his wittily-named consultancy, Brandad, Bill today brings his decades of experience to a wide range of businesses and third-sector organisations, with a particular focus on start-ups in his adopted home city of Brighton, the start-up capital of Europe. Indeed, it was one of his start-up clients that named his business for him.   But Bill's expertise is just as relevant to centuries-old institutions, as evidenced by his data-driven development and activation for the rugby football club, the Barbarians.   Bill's approach to data-driven design is well captured by his son's description of his role as “a fashion designer for businesses”. And though he's into his fourth decade of advising brands on how to stand for something meaningful in their consumers' lives – and trading as Brandad – his tools and techniques couldn't be more contemporary.   An early adopter of AI – and particularly Midjourney for “30-second mood boards that might have taken days or weeks before”, provided the prompts are right – Bill advocates the use of artificial intelligence. “It makes the research process more effective,” he says, “it makes our jobs more focused.”   EXTERNAL LINKS   The Brandad homepage – https://brandad.co.uk   Bill's LinkedIn profile (and Bill is quite prolific on the platform) – https://www.linkedin.com/in/bill-wallsgrove1/     To find out what kind of data storyteller you are, complete our data storytelling scorecard at https://data-storytelling.scoreapp.com. It takes just two minutes, and we'll send you your own personalised scorecard which tells you what kind of data storyteller you are.  

Cat Drew ist Chief Design Officer beim UK Design Council, wo sie sich für „Design for Planet“ einsetzt und Praktiker aus der gesamten Designwirtschaft zusammenbringt, um neue regenerative Praktiken zu entwickeln und die Bedingungen zu schaffen, unter denen Designer ihre beste Arbeit leisten können. Cat ist zudem eine Expertin für systemisches Design und wurde für ihre Arbeit zur Entwicklung dieser Praxis mit dem Design Week Hall of Fame Award ausgezeichnet. Nikki Van Grimbergen ist Programm-Managerin beim Design Council, wo sie das „Place portfolio“ betreut und gemeinschaftliches Engagement fördert. Sie war u.a. Teil des strategischen Studios „the Place Bureau“, wo sie die Ortsvision für Silvertown Quays Development mitentwickelte. Mit einem Master-Abschluss in narrativen Umgebungen hat sie ein großes Interesse an der Rolle der Erzählung bei der Entwicklung inspirierender und ansprechender Orte. Mit Cat und Nikki haben wir uns zum Double Diamond Prozess unterhalten. Im Kern ist der Double Diamond eine visuelle allgemein akzeptierte Darstellung des Designprozesses. Es ist eine einfache Möglichkeit, die Schritte zu beschreiben, die in einem Design- und Innovationsprojekt unternommen werden, unabhängig von den verwendeten Methoden und Werkzeugen. Der Prozess veranschaulicht den Weg von der Identifizierung eines Problems bis zur Entwicklung einer Lösung in vier verschiedenen Phasen: Discover, Define, Develop, Deliver. Die Brillanz des Double Diamond liegt in seiner Einfachheit und Vielseitigkeit. Diese vom British Design Council im Jahr 2004 ins veröffentlichte Methodik hat die Art und Weise, wie Designer, Unternehmen und sogar Bildungseinrichtungen an Problemlösungen herangehen, revolutioniert. Der Double Diamond ist nicht nur ein Prozess, sondern eine Denkweise, die die Bedeutung von Forschung, Benutzereinbindung und iterativer Entwicklung betont und leitet Teams dazu an ihr Denken zu erweitern, bevor sie sich auf spezifische Lösungen konzentrieren. Im Wesentlichen ist der Double Diamond Design Prozess ein Weg zur Innovation, der die Notwendigkeit divergenten und konvergenten Denkens unterstreicht und sicherstellt, dass jede Lösung sowohl kreativ inspiriert als auch rigoros getestet wird. Der Prozess wird in verschiedenen Bereichen angewendet und hat die traditionellen Grenzen des Designs erweitert und wird somit nicht nur in der Produktentwicklung oder Service-Innovationen sondern sogar für die Politikgestaltung genutzt und beeinflusst diese. Dieser Prozess wurde nun aber vor zwei Jahren vom UK Design Council und Cat Drew und Team überarbeitet, da er nicht mehr als zeitgemäß angesehen wurde. In unserem Gespräch erzählen Cat Drew und Nikki Van Grimbergen welche Änderungen vorgenommen wurden und wieso und welche Prinzipien und Charakteristiken ergänzt wurden. Sie beschreiben den neuen Double Diamond Prozess – Das Systemische Design Framework (The Systemic Design Framework) als Werkzeug für aktuelle komplexe, systemische Herausforderungen und als Mittel, um Veränderung anzustoßen in Organisationen im öffentlichen und privaten Sektor.

In this podcast episode, your cohosts demystify how to define the real problem and why it's a crucial step in the Design for Health process. We briefly review the Double Diamond Method from our last episode and explain how insights revealed through our Discovery Interviews were used to draft a Problem Statement. We'll review two tools that could help you - Empathy Mapping and the 5 Ws. Finally, we end with a practical example of how defining the problem could help in a healthcare setting. If you have questions or comments about this process, feel free to email us at info@sichealth.ca. Your questions could be featured on a future episode! Resources 1. ⁠Double Diamond method⁠, Design Council, UK 2. Entrepreneurship Bootcamp 101, Sept 2023, Facilitators: Khizer Tajamul and Maryam Ahmed 3. Empathy Mapping - Season 1, Episode 5 of On the Edge with SIC https://www.sichealth.ca/podcast/episode/51ebca88/episode-5-empathy-in-healthcare 4. The 5 Ws in Design https://bootcamp.uxdesign.cc/xzthe-five-ws-method-for-writing-a-design-brief-81c606f89e57 --- Send in a voice message: https://podcasters.spotify.com/pod/show/sichealth/message

In this introductory episode of the second series of my Talking D&T podcast for 2024, I discuss the focus of the upcoming series on shaping design and technology education in England. The series, running from April to August 2024, will feature international speakers sharing their perspectives on the subject in their respective countries.I explain the catalysts behind the series, including the decline in the number of pupils studying GCSE design and technology and proposals for transforming the curriculum. I have been attending various national meetings about the subject's current state and future development, hosted by organizations such as the Design Council. My podcast aims to bring these conversations to a wider audience and engage them in the discussion.I have divided the series into three parts, focusing on design and technology's current status in England, what people think about this, and what is being done to address the issues. I have invited a diverse range of guests, including representatives from exam boards, subject associations, and international voices. I hope that listeners will find the series engaging and encourage them to get involved in the conversation by sharing their ideas and opinions. The first public episode will be released on April 16th, 2024, with a subscription-only episode available on April 11th for teachers and other subscribers to prompt further thinking based on the context of shaping design and technology education.Mentioned in the episodeDesign Council: An independent charity and the government's advisor on design. Matilda Agace will discuss the organisation's role in shaping D&T education.Design and Technology Association, the only professional association for D&T education in the UK, actively involved in conversations about the subject's future.Crafts Council: The national charity for craft in the UK. Nikki Dewar will discuss their perspective on D&T education and the role of craft.Pearson's proposal, put forward by this education company, has served as a catalyst for current conversations and meetings surrounding the future of D&T education in England.Andy Halliwell posted a thought-provoking question on LinkedIn recently: What is design thinking?What do you think? Join the conversation over on LinkedIn and let us know what you think. Support the showIf you like the podcast, you can always buy me a coffee to say 'thanks!'Please offer your feedback about the show or ideas for future episodes and topics by connecting with me on Threads @hardy_alison or by emailing me.If you listen to the podcast on Apple Podcasts, please take a moment to rate and/or review the show. If you want to support me by becoming a Patron click here. If you are not able to support me financially, please consider leaving a review on Apple Podcasts or sharing a link to my work on social media. Thank you!

In Season 2, we return to Learning On the Edge (with SIC), where we'll explain the key elements of the Design Process using the Double Diamond method. In this month's episode, we focus on the first diamond - Discovery, and specifically, the tool - Discovery Interviews. We define Discovery Interviews, share some tips for conducting your own interviews, and provide examples of interviews we've conducted around a problem in the mental health context. Resources 1. Double Diamond method, Design Council, UK2. Entrepreneurship Bootcamp 101, Sept 2023, Facilitators: Khizer Tajamul and Maryam Ahmed --- Send in a voice message: https://podcasters.spotify.com/pod/show/sichealth/message

Branding is an art. And Jacob Cass masters it. Take this story. A small café, unnoticed in a busy city. The owner rebranded it. Now? It’s a local sensation. That’s the power of effective branding. But let’s look at the numbers. According to a Design Council study, for every $1 invested in design, businesses can…

Have you ever seen a vision for the future of your industry or noticed an alarming gap that you could create a solution for?Or have you ever found yourself wanting to create change to best suit the needs of everyone, but felt frustrated in your attempts, or didn't even know where to start or even how to get your stakeholders to buy into it?In this episode we speak to prominent innovators and change makers, on how best to create impactful and enduring change. First guest is internationally renowned human centered change and Innovations specialist, Matt Marsh.Matt's early roots lie in the behavioural sciences and was a studio director for the award-winning innovation firm, IDEO, as well as innovation envoy for the UK's Design Council. He has over twenty-five years of experience providing the creative, empathetic and progressive leadership that helps organisations change, transform and innovate successfully. Recent clients include Barclays, Lloyds, Vodafone, Microsoft, the NHS, Virgin Atlantic and Guide Dogs.His first book, “People-Shaped, Tales and Tricks of a Human Centred Designer” details his approach to change and have assisted organisations in a range of industries.Our second guest is Dr Nicky Longley, an inspiring leader and very people passionate. Dr Nicky Longley is a consultant physician in Tropical and Travel Medicine at HTD and Associate professor in travel medicine at London School of Hygiene and Tropical Medicine.Nicky has trained in London, Uganda and South Africa and played a key part in a project creating better access to the NHS for Asylum Seekers. The project came about during Covid, we'll talk more in depth about it's start, challenges and the outcomes on the episode.

Subscriber-only episodeThis is a follow on from Tuesday's episode with more detail about why I made the suggestions I did to the Design Council event about what can be done to develop and improve D&T in England. Episode transcriptIf you like the podcast, you can always buy me a coffee to say 'thanks!'Please offer your feedback about the show or ideas for future episodes and topics by connecting with me on Threads @hardy_alison or by emailing me.If you want to ask a question or leave me a message, you can do this on Speakpipe.If you listen to the podcast on Apple Podcasts, please take a moment to rate and/or review the show.This podcast is funded by consultancy work I do outside my full time job at Nottingham Trent University and my beloved Patrons. Patrons receive exclusive content and various rewards, depending on their level of support, such as access to my special private Patreon-only posts and signed copies of my books. Patrons can also suggest topics for my podcast. If you want to support me by becoming a Patron click here. Whilst ongoing support would be fantastic you can make a one-time donation instead, through PayPal (contact me to for details), if that works better for you. If you are not able to support me financially, please consider leaving a review on Apple Podcasts or sharing a link to my work on social media. Thank you!

A few weeks ago I attended an event hosted by the Design Council with a broad group of people who were pulling together thoughts to be used to lobby the UK government about funding some developments in D&T.I was asked to share thoughts about what could be done. In this episode I read out my notes, with some extra bits, about my ideas. As usual, I"m open to feedback and comments!There is more to follow in the next episode which is only available to subscribers and Creator Patreons.Episode transcriptMentioned in the episodehttps://cls.ucl.ac.uk/cls-studies/millennium-cohort-study/Support the showIf you like the podcast, you can always buy me a coffee to say 'thanks!'Please offer your feedback about the show or ideas for future episodes and topics by connecting with me on Threads @hardy_alison or by emailing me.If you want to ask a question or leave me a message, you can do this on Speakpipe.If you listen to the podcast on Apple Podcasts, please take a moment to rate and/or review the show.This podcast is funded by consultancy work I do outside my full time job at Nottingham Trent University and my beloved Patrons. Patrons receive exclusive content and various rewards, depending on their level of support, such as access to my special private Patreon-only posts and signed copies of my books. Patrons can also suggest topics for my podcast. If you want to support me by becoming a Patron click here. Whilst ongoing support would be fantastic you can make a one-time donation instead, through PayPal (contact me to for details), if that works better for you. If you are not able to support me financially, please consider leaving a review on Apple Podcasts or sharing a link to my work on social media. Thank you!

Mike Dempsey has been a practising graphic designer since 1964. From the late sixties he worked as an Art Director for two leading British publishing houses. In 1979 he founded the design consultancy Carroll & Dempsey, which later became CDT Design Ltd. His work has earned him many awards and in 2012 he was presented with a special Black Pencil for the most awarded designer in D&AD's 50-year history.  He's acted as Design Advisor to the Department of Culture Media & Sport, was appointed consultant Art Director by the Royal Mail to create the two-year Millennium stamp programme and was the Art Director of the Royal Society of Arts Journal from 1997 to 2002. He's written features for Eye Magazine, Design Week, Creative Review, The Times and many more. He was made a Royal Designer for Industry in 1994 and was elected a member of Alliance Graphic International in 1998. He was the President of D&AD in 1997/98, was Master of the Faculty of Royal Designers for Industry from 2005 to 2007 and was the external design advisor to the Design Council. He left CDT at the end of 2007 to form Studio Dempsey – and now lives and works in both London and Dorset.  Mike also hosts RDIinsights – a recorded series he devised in 2006, featuring interviews with world-class Royal Designers for Industry across all disciplines. Search and listen to the shows on Apple and Spotify. You can follow Mike on Twitter @graphicjourney. You can also follow him on Instagram @studiodempsey. His blog is full of interesting articles which you can find here. To read Mike's four-part blog post on cover design here. For those who haven't seen it, click here for Tom Gauld's brilliant piece about cover design. Cover Meeting is hosted by Steve Leard and produced by James Ede of beheard.org.uk.

The Mind Tools L&D Podcast usually focuses on how L&D can help colleagues develop in their careers – but we're not the only industry with an interest in education. Some of the world's most exciting tech companies, including Google, Meta and Amazon, use education as a tool to help their customers develop new skills and encourage longer term adoption. In this week's show, Ross G and Nahdia speak to Intellum's Lizzi Shaw and Gusto's Jaclyn Anku to discover:   why marketing teams invest in customer education how they define the business outcomes they want to achieve   how they measure the impact of their programs. In ‘What I Learned This Week', Nahdia discussed the ‘Systemic Design Framework' from the Design Council. Jaclyn discussed the career of Simone Biles. And Ross discussed an episode of The Listening Service, which covered ‘Fantasia on a Theme of Thomas Tallis by Vaughan Williams'. To find out more about the Intellum LMS, see intellum.com. To find out more about Gusto's approach to customer education, read or watch the case study. Gusto are at gusto.com, For more from Mind Tools, including access to our back catalogue of podcasts, visit mindtoolsbusiness.com. There, you'll also find details of our award-winning performance support toolkit, our off-the-shelf e-learning, and our custom work.  You can find Will at: worklearning.com If you listened to this episode at all (we had doubts), please do drop a quick note to Ross, just to let him know: rgarner@mindtools.com. Connect with our speakers  If you'd like to share your thoughts on this episode, connect with our speakers: Ross Garner Nahdia Khan Lizzi Shaw Jaclyn Anku

Discover the secret of growing through a motivating purpose. Ian and Toni Wilson are alumni of Business of Architecture's SMART Practice™ program and they currently sit on the Design Council. After serving in the United States Army, and working in several large architectural practices, Ian and Toni Wilson launched NolanCarter Architectural Design. In this episode, you'll discover how Ian and Toni balance family life and tie it back to the firm's motivating purpose. ► Feedback? Email us at podcast@businessofarchitecture.com ► Access your free training at http://SmartPracticeMethod.com/ ► If you want to speak directly to our advisors, book a call at https://www.businessofarchitecture.com/call ► Subscribe to my YouTube Channel for updates: https://www.youtube.com/c/BusinessofArchitecture ******* For more free tools and resources for running a profitable, impactful, and fulfilling practice, connect with me on: Facebook: https://www.facebook.com/groups/businessofarchitecture Instagram: https://www.instagram.com/enoch.sears/ Website: https://www.businessofarchitecture.com/ Twitter: https://twitter.com/BusinessofArch Podcast: http://www.businessofarchitecture.com/podcast iTunes: https://podcasts.apple.com/us/podcast/business-architecture-podcast/id588987926 Android Podcast Feed: http://feeds.feedburner.com/BusinessofArchitecture-podcast Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9idXNpbmVzc29mYXJjaGl0ZWN0dXJlLmxpYnN5bi5jb20vcnNz ******* Access the FREE Architecture Firm Profit Map video here: http://freearchitectgift.com Download the FREE Architecture Firm Marketing Process Flowchart video here: http://freearchitectgift.com Carpe Diem!

Welcome, Kyle DeCicco-Carey to In-Focus Podcast Number 146! Kyle is the Library Director at the Millicent Library in Fairhaven, Massachusetts, and will be speaking with us for the third time about Robert Swain Gifford, also known as R. Swain Gifford. Kyle's first visit was Episode 132 about William Bradford. His second was Episode 133 about Lemuel Eldred. This is a five-part series on celebrated Fairhaven artists from days gone by. It is supported in part by a grant from the Fairhaven Cultural Council, a local agency, which is supported by the Mass Cultural Council, a state agency. “Kyle DeCicco-Carey has nearly 20 years of professional library experience. He comes to the Millicent Library from Harvard University, where he was a senior reference archivist in the property information resource center. He has experience as an interim library director at the Mattapoisett Free Public Library, and is president of the Board of Directors of the Mattapoisett Historical Society.” [Fairhaven Neighborhood News] Kyle holds a master's degree in library and information science from Simmons University and, a digital archives specialist certification from the Society of American Archivists. He also holds certifications from the Academy of Certified Archivists and the Harvard Extension School in nonprofit management. He has over twenty years of library, archive, and museum experience. ROBERT SWAIN GIFFORD American Landscape Painter December 23, 1840 – January 15, 1905 Kyle tells us that, “at age two, Robert Swain Gifford came to Fairhaven with his family from Nonamesset Island where he was born in 1840. He had developed a love of art by the time he met Albertus Van Beest as a teen. He would study with Van Beest and William Bradford before opening his own studio in New Bedford, Boston, and later New York.” “His artwork consisted of etchings, oil paintings, and watercolors. His landscapes were influenced by the Barbizon School of Painting. Gifford traveled to the western US and overseas to England, France, Spain, and Egypt creating landscapes of the places he visited. He would later take part in the Harriman Expedition of Alaska and the Bering Straight along with George Bird Grinnell, John Muir, Edward S. Curtis, and others.” Gifford served on the National Academy of Design Council and taught at the Cooper Union School. He died in 1905 in New York and is buried at Rural Cemetery in New Bedford. Several works by Gifford are on display at the Millicent Library in Fairhaven. His work may be seen in Fairhaven Town Hall, The Millicent Library, the Peabody Essex Museum in Salem, Massachusetts, the New Bedford Whaling Museum, and the Kendall Whaling Museum. Listen in on this conversation as The Artist Index's Co-Founder/Host – Ron Fortier – delves more into Robert Swain Gifford's life, work, and legacy with Kyle DeCicci-Cary. The whole concept of The Artists Index and our journey is still in the making and very organic. If you would like to be a guest or, have a suggestion, please let us know! The In-Focus Podcasts are up close and personal conversations with the makers, performers, supporters, and cultural impresarios of the remarkable creative community of South Coast Massachusetts including New Bedford, Dartmouth, Fairhaven, Westport, and beyond.  

This season we've partnered with the Egypt Fashion & Design Council, which is launching the first edition of Egypt Fashion Week from May 12 to May 15. I'm joined on this bonus episode by two of the Council's co-founders, Paul Antaki & Susan Sabet. We talk about the mission behind the EFDC and what they're hoping to achieve with the first Egypt Fashion Week. You can find out more on their website, and also follow Egypt Fashion Week on Instagram and on TikTok. Learn more about your ad choices. Visit megaphone.fm/adchoices

It is our mission on this podcast - and the wider membership community from which it arose -  to open doors and break down barriers, to bring forward the ideas and the actions of, and give voice to, the absolutely amazingly creative people who get that business is not usual, that the reality we have created for ourselves is misguided at best - and dangerously toxic at worst - and are doing their best to bring about change in a timescale that matters. This week, we spoke with Pooran Desai, whose scope and scale and grasp of the nature of the problem is unmatched. Pooran is a serial environmental entrepreneur and it felt like a breath of fresh air, to connect with someone who sees the bigger picture and is working to affect change at all levels. We explored topics that ranged from the building of Britain's first sustainable community at BedZED in London, to the nature of the meta-crisis and why measurement of single indices is one of the key factors in the emergency. On the way, we discusses the different natures of left and right brain thinking and how they apply to databases (and why databases are so critical to the way that business and so politics works in the world), the evolution of sustainable development goals (and why those started out well but have become yet another way of greenwashing business in its endless drive for profit), the nature of reality and how Daoist meditation can give us insights into our own delusions…and ways we could save the NHS 80% of its costs. This was a  hard-hitting conversation. We didn't mince words or step around ideas. I found it exhilarating, enlightening and inspiring and hope you do to.  Bio: Pooran Desai has been a neuroscientist, a property developer, and a technology entrepreneur, but all of it has been in service to a regenerative future. In 1994, he co-founded one of the world's first sustainability organisations, Bioregional which is responsible for setting-up enterprises in sustainable forestry, organic farming, recycling and real estate development.He assembled a wealth of environmental and sustainable talent to create the UK's first zero-carbon urban eco-village, BedZED, which was completed in 2002. In 2004, he was awarded an OBE for services to sustainability - in the days when the word still meant something seriously worthwhile. Pooran led Bioregional's One Planet Living®  initiative for 18 years, leading teams that created sustainability strategies in 30 countries creating a set of principles that served as inspiration for the United Nations' Sustainable Development Goals (SDG's). Pooran is author of  OnePlanet Communities: A Real-Life Guide for Sustainable Living, and is a trustee of the Design Council, supporting their 'Design for Planet' mission.In 2019, Pooran founded OnePlanet, to create a software suite that helps people, companies, policy makers shift to networked thinking - to let go of the constraints of consensus reality and the linear thinking that got us into this mess, and move towards systemic thinking that might get us out of it. LinksAlan Watts recordings https://alanwatts.org/audio/Sharon Blackie Post-Heroic Journey https://open.substack.com/pub/sharonblackie/p/the-post-heroic-journeyKnepp https://knepp.co.uk/

Happy Thursday Worthiness Warriors! This week I am joined by Kate Bailey, the founder of TARRA, a coworking space created to change how women connect in all parts of our life.   Kate's expertise as an entrepreneur and business owner was cultivated over 20 years of in-the-trenches experience. A former magazine editor and journalist, she left the industry in 2007 to launch a boutique communications and marketing agency, Annabel Media. As Annabel Media grew, Kate discovered that she couldn't find the right resources to truly take her business to the next level, so in 2015, she founded TARRA, TARRA.co, to transform the way women connect business, life, and community. Established in 2015, the platform rapidly expanded to include networking, business education, mentorship, and a growing brand of collaborative membership workspaces. TARRA's first flex office and workspace campus opened at 9+Co in Denver in 2022 and today, the TARRA network is expanding throughout the United States with a mission to create a more inclusive and diverse business community through access to vetted business resources, education, and a powerful network of professional women. Bailey is an active member of the Denver nonprofit community. She is a member of the Empowerment Council of the Women's Foundation of Colorado, held a board position for the Design Council of the Denver Art Museum from 2016-2019, sat on the Small Business Council for the Colorado Women's Chamber of Commerce, was an active board member of the Women's Entrepreneurship Council, and has been an active volunteer for Big Brothers Big Sisters and Children's Health Foundation in Aspen. She is an in-demand speaker and panelist for local business groups on topics ranging from public relations and marketing to women-focused business and entrepreneurship. In 2017, Bailey was highlighted as a rising woman in business by Cherry Creek Lifestyle magazine, named one of the top 100 creatives in Denver by Westword magazine, and has been a featured speaker and panelist at Denver and Boulder Startup Weeks.   Tarra Website Tarra Instagram

Almost every designer is now focusing on sustainability as part of their brief. Design influences how we live, work and play, so all designers must ask themselves: How can you make your design more sustainable whilst still bringing joy and excitement? And, sustainable designs can have many faces – ranging from green buildings to upcycling consumer goods to electric vehicles. In this podcast our head of Brands & Designs, John Coldham, chats to figures in the design world about how they are approaching sustainability, including: Minnie Moll, Chief Executive at the Design Council. She leads the Design for Planet mission, which helps address the climate crisis; Trystan Farnworth, Customer & Marketing Director, Aqua Libra Co, part of Britvic. He is an "executive change maker" driving sustainability in the F&B industry; Natalie Davies, Managing Director of Ezee Group International Ltd. She designs and manufactures innovative products made from waste material; and Gemma Perry, owner of the design studio House of Solus. She is a bespoke jeweller with specialism in redesign of quality pieces and upcycling jewellery. ... Gowling WLG is an international full-service law firm working across a range of industry sectors including real estate, government, financial services, life sciences and technology. We operate across the world with offices in the UK, Europe, Canada and the Middle East. We regularly talk about a broad range of topics that may be of interest to you. Subscribe to receive our latest articles, podcasts and webinars straight to your inbox: https://gowlg.co/35efH2r Alternatively, you can view our full selection of insights and resources here: https://gowlg.co/3IwEr41 Want to get to know us? Follow us on: LinkedIn: https://gowlg.co/3hqmatB Twitter: https://gowlg.co/35Do0nY Facebook: https://gowlg.co/3th2w8N Instagram: https://gowlg.co/3tEf2iq This podcast may contain information of general interest about current legal issues, but does not give legal advice.

On episde 10, Caroline & @Priya are joined by international multi-award winning interior designer, business consultant and Founder of Society of British & International Design, Dr. Vanessa Brady.⁠Vanessa is a prominent figure in the interior design sector both nationally/internationally and she was awarded an OBE for her services to Interior Design and the UK Economy.⁠⁠Vanessa has amassed an award winning portfolio including projects such as Hard Rock Cafe, the Design Council, Kabaret Club, British Luxury Club, Unilever, high security government offices, His Majesty The Sultan of Brunei, King of Saudi Arabia, Head of State Palaces, the private residence of numerous diplomats and VIPs.⁠⁠She is also one of 3 owners of nation's leading music; PopMaster alongside BBC presenter Ken Bruce and radio/music producer Phil 'The collector' Swern. Vanessa also founded the Vanessa Brady Foundation which encourages the creativity of talented young minds to develop an aspirational vocation.⁠Follow Caroline @caroline.donaghue and Priya @priya.rawal.london and the podcast page @therealrendezvous on Instagram and LinkedIn. Sponsored by V1 & The Luxury Property Forum. Produced by BBE Podcast Agency. Hosted on Acast. See acast.com/privacy for more information.

What you'll learn in this episode: Why an empty mind is the key to creative exploration The difference between an artist-jeweler and a jeweler or artist alone What fair-trade gold is, and how Ute became a pioneer in the ethical jewelry movement Why greenwashing is the newest trend threatening the ethical jewelry market How jewelry creates connections, even when someone wouldn't wear a piece themselves About Ute Decker Ute Decker, born 1969, Germany, lives and works in London, UK. The jewels of Ute Decker are described as “a powerful statement” that “sets a shining ethical example” (Financial Times). The Economist 1843 compares her “avant-garde sculptural pieces” to “swirling sculptures” while Christie's simply calls them “wearable works of art”. Ute's pieces are exhibited internationally and have won prestigious awards including Gold Awards from The Goldsmiths' Craft and Design Council, UK. Public collections include the Victoria & Albert Museum, UK; the Crafts Council, UK; the Goldsmiths' Company, UK; the Spencer Museum, USA; Musée Barbier-Mueller, Switzerland; and the Swiss National Museum. As a political economist-turned-journalist-turned-artist jeweler, Ute Decker is a pioneer of the international ethical jewelery movement. She works predominately in recycled silver and was one of the first worldwide to work in Fairtrade Gold. Additional Resources: Website  Instagram Ute's Facebook Ute's Jewelry Facebook Photos Available on TheJewelryJourney.com  Transcript: When it comes to ethical jewelry, artist-jeweler Ute Decker is the real deal. She was one of the first people to use fair-trade gold when it became available in the U.K., and she has spent her career advocating for the use of truly ethically sourced materials in the jewelry industry. Above all, she's proven that ethical can be beautiful: her sculptural works have won several awards and are in the collection of museums worldwide. She joined the Jewelry Journey Podcast to talk about what fair trade means; how she approaches the creative process; and what makes an artist-jeweler. Read the episode transcript here.     Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please go to TheJewelryJourney.com. Today my guest is Ute Decker, talking with us from London. Ute is an artist-jeweler who's known for her innovative method of sculpting, bending and twisting metal into three-dimensional, wearable sculptures. She works in fair-trade gold and recycled silver and is considered a pioneer in the international ethical jewelry movement. Welcome back.   So how did all of this lead you into recycled material? Was that something you decided you wanted to do, and that was it? How did it happen?   Ute: As we talked about at the beginning, as a teenager, I wanted to change the world. I was always quite environmentally mindful. Then studying political economics, working as a journalist, you think that is very far removed from being a creative, and at the time it certainly felt like a big break, but in hindsight I think it was an important apprenticeship I needed to take to become the jeweler I am today. As in political economics, you don't just look at the piece and take it as art for art's sake or design for design's sake. You want to know the meaning, the context, the economic, the social, the political, the gender.    All those different histories and intersectionalities, that's my training to look at those. As a journalist, your training is to ask questions, so when I started out making jewelry, I did ask questions. Like many people, I've seen the film “Blood Diamonds,” and I thought, “Oh well, thank god I don't work with diamonds. I work with metals.” Then I started to look into gold, and the story is very similar to “Blood Diamonds” with gold. Of course, my reaction was, “I can't possibly work with this kind of material. I can't be part of the status quo. I'd have blood on my hands. It's discretionary. It's something I'm making. There's absolutely no need for those horrible stories.” So, I researched quite a bit and asked many questions about ethics.    In 2009, when I started, there was no information out there whatsoever. In fact, I was met with a lot of hostility. Once you start asking about the ethics of jewelry, you're tainting the story because jewelry is sold as that beautiful, luxurious love, but it's such a tainted story. So, in the jewelry industry, those questions were certainly not welcome. I was met with either belittlement, “Don't you worry. Everything is fine,” or outright hostility. I think as a journalist that meant, O.K., if people avoid your questions, that means you're asking the right questions.    I searched high and low and found a like-minded person who's been very active in that field. I was one of the very first to work with fair-trade gold when it was launched in the U.K. It was together with Fair Trade and Fair Mined Gold. Those two organizations have now separated. I know in America more jewelers work with Fair Mined; in Europe, more work with Fair Trade, but it's very similar standards. The main thing is it's fully traceable. We know exactly where it comes from. I know from which mine in the highlands of Peru my gold is coming from. I know it's not smuggled out from the Congo, supporting atrocities there. I know it's not smuggled out of Russia or somewhere else. It's fully traceable, every single gram. I'm registered with the Fair Trade Foundation in the U.K. The mine is registered as well as the importer, and the refiner is registered. We all have a number and we all declare how much we buy, and it's fully traceable. As a smaller maker, I'm audited every two to three years. I have to be able to show every single invoice; every single gram, I have to account for. It's being checked. It is quite bureaucratic, but that is the guarantee. The whole fair-trade ethos is trade not aid. It is about paying a fair price rather than the small-scale miner selling to middlemen, middlemen exploitation. It's very much about dignity: avoiding child labor, more gender equality, environmental standards of not burning down the Amazon. Fair-trade gold and fair-mined gold is a little more expensive, but in the great scheme of things, it is worth it.   It's also quite interesting that we started with just 20 jewelers. In 2009, we launched jewelry. All the other jewelers were also very small, individual jewelers. The entire industry said, “Traceability is not possible. Our gold is clean.” Well, where does it come from? “It's clean.” But where? Traceability is impossible, we were told by the industry. Gold comes from all over the world, it's then refined mostly in hubs like Switzerland or Dubai. The gold from all over the world comes through those hubs and then is distributed again all over the world. Gold has no identity, and they said it is absolutely impossible to have traceability. So, as 20 tiny, little jewelers, and unimportant jewelers in the great scheme of things, we gave the proof of concept that it was something that is possible. The entire industry no longer could deny that this was a possibility. Sometimes you get so disheartened thinking, “Whatever I do as an individual, what difference could it possibly make? It couldn't be more than a drop in the ocean.” But the ocean is nothing but an accumulation of drops. We can change the waves. We can change. So, we have more power than we think we do.   Sharon: First, let me ask you: What is Fair Trade and Fair Mined? What is fair-trade gold?    Ute: I'll answer both of them together because they started out together. It was called Fair Trade and Fair Mined gold. Later those two organizations separated, but they wrote the standards together, so they're still very similar. When I say Fair Trade, you could almost consider it Fair Mined as well. They're almost interchangeable. I think I did once read the standard. It's pages and pages and pages of small print standards of environmental guidelines, of engaging with gender equality. It is about the minimum payments.    Quite often with small-scale miners, it's not a job you do for fun. Artisanal sounds romantic, but it's not. It's a dollar-a-day, often horrible job, sometimes bonded labor, sometimes involving an awful lot of child labor. All of that is why the Fair Trade Foundation or Fair Mined works with the mine for a long time to come up to standard with certain environmental standards. They have to form a cooperative. We pay a premium that is then invested into community development. Women have a voice. Child labor is not allowed. Those mines are audited, and for their efforts they receive more money. It's really enabling those miners to have more dignity, to live in a cleaner environment, to help protect the environment for all of us, and hopefully earn enough money for those children not to go down the shaft, but to go to school.    The question is, “Well, let's just not use any gold at all,” which I also heartily agree with. But as we said, these miners almost subsist on a dollar a day, quite a few of those small-scale miners around the world. 100 million depend on that income, and it's a poverty-stricken income. For us in the West to say, “Well, it would better if you didn't do that,” is not going to work. It is helping those communities to work more environmentally friendly but also to earn more money to eventually get out of mining. It is a slower process. It's not that we have all the answers. It's a process of empowerment.   Sharon: How about the recycled silver you use? Do you only use recycled silver? How did Fair Mined lead you into only working with recycled silver?   Ute: Fair Trade and Fair Mines initially were only gold mines. When you mine gold, in the ore there is some silver, but it's a much smaller percentage. So, there was availability of fair-trade gold, but very, very little of fair-trade silver. Of course, it's much cheaper to work with silver, so there would be a much higher demand. I would occasionally get a few grams of silver. I think now the availability of fair-mined silver is a little bit better. In fact, I've been told that it's quite good now, so I need to look into that again. It is a continuous journey, but at the time and until recently, there was not just enough availability of fair-trade silver. Otherwise, I would prefer to work in fair-trade silver.    Recycled silver—now we call it recycled because we're all so green; we used to call it scrapping. So, we've always done that.  We've never thrown away precious metals. For me, it is not necessarily an ethical proposition to work in recycled. It is a little bit better than nothing, but I wouldn't say I'm working ethical because I'm using recycled materials. I think that's almost the bare minimum we should be using.    But then we come back to your earlier questions about art jewelry, artist jewelry, ethical jewelry. I don't like the term ethical at all, ethical jewelry. It seems to be a standard term now. Sustainable jewelry, it definitely isn't sustainable. We're using finite resources. Responsible is probably a better term. I quite like mindful, but then mindful is so occupied with other things, so you can't use that term. So, I use ethical jewelry as a term because I think we all know what we mean by that, but I don't particularly like the term.   Sharon: Do your clients care? When you're having a showing or people call about your jewelry and you mention it, does it make a difference to them how you're working, whatever you want to call it? Do they care?   Ute: Not as much as I would have thought. Not as much as I do. It is not what people call a unique selling point; it's not. If you do make small wedding bands, I think young couples, especially younger people, are much more engaged in that sustainable question. For them it's much more important. People find their way first and foremost because there is something that speaks to you about the forms I make. It's only afterwards, when they look closer and they see the materials I use. I think it is a certain appreciation of individually made, sculpted pieces that are unique even when I make a series, because they're all hand sculpted. I will never be able to make the same piece again, so even with a series, pieces are unique.    If that somebody goes to the trouble and cares to choose the best material possible, I think that is appreciated, but nobody comes to me to buy a ring because it's made in fair trade. I would love to stop talking about this subject because I would love it to be normal, nothing special anymore, but after being met with so much hostility all those years ago in 2011, if you look at any website of jewelers now—especially high street—they all proclaim to have responsible sourcing, conflict-free diamonds. As a consumer, if you look, you think, “Oh, thank god all of it has been sorted.” I think our biggest problem now—because there are more and more responsible and ethical options available—is greenwash.   Sharon: Greenwash, did you say?   Ute: Yeah, greenwash. Greenwash means painting the status quo green, changing nothing, just making it sound green. Unless you have fully traceable, unless you know 100% where your materials come from, you can't make those claims. For me, using recycled is not necessarily ethical because there are huge issues with recycled. I'm always asked about that. I put a whole section on my website with several articles: “Is recycled or fair mined better?” because a lot of jewelers want to do the best. Rather than answering that question each time, I put quite a few articles on my website.    Sharon: May I ask you this about your jewelry, about something you said before? It's always seemed to me that if you're doing a show, you're putting your work out there for people to judge. “Yes, I want a ring like that,” or “No, it doesn't appeal to me,” and they move onto the next thing. It must take thick skin.   Ute: Interesting question. You would think so. Before I outed myself, I made jewelry for myself for nearly 20 years. I made what I wanted to wear, what I enjoyed. For me, it was totally unimportant if anybody else liked it.    Sharon: Are the pieces you make for the shows pieces you like or pieces you want to make?   Ute: When I started out only making jewelry for myself, I didn't show it to anybody. I made it for myself. It was out of interest and the creative joy of it. I wore the pieces, and it didn't matter whether somebody liked it. Then I accidentally showed my work for the first time, and I thought, “Who else is going to like this? I love it and some of my friends do, but maybe they're just being nice.” I did win a prize and things happened. It's quite amazing, to my greatest surprise, that several of my pieces are now in several museums including the V&A. I would have never, ever thought so. I think as any creative, to be authentic, you can't try to please everybody. You don't want to please everybody. It's wonderful that there are several people out there in the world who think that what I do speaks to them, but I'm quite happy for many people to just walk past.   Sharon: It doesn't matter.   Ute: Yes, it doesn't matter. There are some lovely older ladies who come. They giggle and say, “Oh, you couldn't do the gardening with that one.” I love that comment. It's still engaging, and they're interested in the shapes. It's so obvious it's not for them, but they still engage in a way. Jewelry, for me, is a way of making connections. You can't connect with absolutely everybody, but when it makes those connections, it's beautiful.  So no, I don't have thick skin, because I guess enough sparkling eyes gives me joy as well. I see artwork that others are enthused about, and it doesn't speak to me. Maybe a few years later it does. So no, I'm not trying to please anybody. It's a joy that there are many people I can share the work with.    Sharon: Your work is unusual, but if your work is not for gardening, as these women say, who is it for? Is it for younger people? Is it for people who appreciate the art and when they go garden, they'll put it aside? Who is it for?   Ute: Every piece I make is a piece I want to wear. Maybe in a way it's firstly for me, so I can keep making them. I sell my work to support my habit. Mostly the people who are drawn to my work are mature, mostly women, but also men. Mature people who are confident that come in all shapes, sizes, ages, everything, but who feel quite confident wearing a piece like the ring I'm wearing or the beautiful ring you're wearing.    Jewelry can also be very empowering. You put on a piece, and here I am talking nonstop, but I can be quite shy. Being in a gathering of people, especially for me to go up to somebody, yeah, I dread being in groups of people. When you wear a piece, it allows other people to approach you. It gives that invitation to speak to you. It doesn't say, “Hey, look what a cool piece I'm wearing.” It says, “Yes, I'm open to have a conversation.” It's amazing how many doors wearing my jewelry has opened. Then you start a conversation, and it naturally flows. Coming back to the question, it is for confident people, but it's also for non-confident people like myself. It's both.   Sharon: I can see how it would be for confident people. I invite everybody to take a look at our website. We'll have picture. It's very unusual jewelry. I really appreciate you being here today. Thank you so much.   Ute: Thank you. That time passed very quickly, Sharon. Thank you.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Why an empty mind is the key to creative exploration The difference between an artist-jeweler and a jeweler or artist alone What fair-trade gold is, and how Ute became a pioneer in the ethical jewelry movement Why greenwashing is the newest trend threatening the ethical jewelry market How jewelry creates connections, even when someone wouldn't wear a piece themselves About Ute Decker Ute Decker, born 1969, Germany, lives and works in London, UK. The jewels of Ute Decker are described as “a powerful statement” that “sets a shining ethical example” (Financial Times). The Economist 1843 compares her “avant-garde sculptural pieces” to “swirling sculptures” while Christie's simply calls them “wearable works of art”. Ute's pieces are exhibited internationally and have won prestigious awards including Gold Awards from The Goldsmiths' Craft and Design Council, UK. Public collections include the Victoria & Albert Museum, UK; the Crafts Council, UK; the Goldsmiths' Company, UK; the Spencer Museum, USA; Musée Barbier-Mueller, Switzerland; and the Swiss National Museum. As a political economist-turned-journalist-turned-artist jeweler, Ute Decker is a pioneer of the international ethical jewelery movement. She works predominately in recycled silver and was one of the first worldwide to work in Fairtrade Gold. Additional Resources: Website  Instagram Ute's Facebook Ute's Jewelry Facebook Photos Available on TheJewelryJourney.com  Transcript: When it comes to ethical jewelry, artist-jeweler Ute Decker is the real deal. She was one of the first people to use fair-trade gold when it became available in the U.K., and she has spent her career advocating for the use of truly ethically sourced materials in the jewelry industry. Above all, she's proven that ethical can be beautiful: her sculptural works have won several awards and are in the collection of museums worldwide. She joined the Jewelry Journey Podcast to talk about what fair trade means; how she approaches the creative process; and what makes an artist-jeweler. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week.    Today my guest is Ute Decker, talking with us from London. Ute is an artist-jeweler who's known for an innovative method of sculpting, bending and twisting metal into three-dimensional, wearable sculptures. She works in fair-trade gold and recycled silver and is considered a pioneer in the international ethical jewelry movement. We'll hear more about her jewelry journey today. Ute, welcome to the program.   Ute: Sharon, thank you very much for having me. It's a pleasure to be here.   Sharon: So glad to have you. Tell us about your jewelry journey. How did you end up doing what you're doing?   Ute: Yes, it was rather unplanned. I'm the daughter of winemakers, several generations of winemakers. As a child, I thought that's what I wanted to be, making wine. So, I grew up in beautiful nature. As I grew up, I was more and more interested in politics, history, philosophy, and I ended up in political economics, because already as a teenager, I wanted to change the world. I thought it was best to have some understanding of how things work. During university, I did a six-month internship at the United Nations. It was also a real eye opener on how slow progress is made and lobbying, so I was quite disheartened after that internship. Then I worked as a journalist for a while, doing news, current affairs. I probably failed in that because I'm not a good storyteller. Words are not my medium.    I was a little bit lost for a while as to what I really wanted to do. When I grew up, in primary and secondary school, art classes were all about figurative drawing and making. I admired it in other people when they can do it, but that's not my interest, and certainly I can't draw a stickperson to save my life. So, I left school thinking I'm actually not very creative or artistic because I failed in what was required. It was probably not until my mid-30s or maybe late 20s when friends said when I made something, “Oh, that's interesting.” For years I was a closet creator. I went to evening classes and all kinds of workshops, whether it's large-scale sculptures, textiles—I love ceramics—several photography workshops. It really was doing workshops that I kept going back.    Nearly for 20 years before offering myself as a jeweler, friends said, “You should do something with your jewelry,” and I said, “Absolutely not.” I loved it so much. There's no way I would like to make it something professional, to have that kind of pressure. I enjoyed it far too much, but then I was invited to take part in a group show. I thought, “It's fine; I'll add a few pieces and just see.” That was quite amazing. That was in 2009. I won a prize and tons of press, and a couple of major collectors bought my pieces. I thought, “Wow, that's nice! I'll maybe do that one more time.” Soon afterwards, I got a proper, full-time studio. The rest is history, really.   Sharon: I don't know if it's still in progress or you just finished up a solo exhibition at the Elisabetta Cipriani Gallery. Tell us about that. Did you feel it was fulfilling, the adulation?   Ute: Elisabetta Cipriani Gallery is absolutely wonderful. We met, I think, in 2013 at Design Basel where they gave me a spotlight showcase, and we've been working together ever since. As you know—you've done an interview with Elisabetta—Elisabetta primarily represents jewelry by artists. Probably the best known is Rebecca Horn. She does collaborations with fine artists, and I was the first one that was more of an art jeweler than a fine artist making jewelry. Now she works with a few more art jewelers. Elisabetta is Italian and it's always “bella.” What a joy to work with somebody who has a really keen eye, interesting observations, does some wonderful projects, is incredibly supportive and is just a joy to be with.    For that exhibition, it's been in discussion for years. I maybe procrastinated a bit because it feels like—it's the same with how I never wanted to show my jewelry. It feels like you're offering it for others to judge. For me, it's a private thing in a way; it's my way of expressing. A solo show is similar. Here is me at this time. I didn't quite like the idea, but of course it's crazy to postpone an offer of a solo show. Then I finally said to Elisabetta, “Look, I will never be ready. Let's just set a date.” So, we did, and then Covid happened, so it was delayed even more. But I created a new body of work for that show called “Creating Waves.” If you have a chance to see it on Elisabetta's or my website—   Sharon: Which we'll list afterwards with show images.   Ute: Yeah. I've also worked with some system of loops because, for me, jewelry is about making connections. It's making personal connections, but it's making broader connections. Coming from that political/economic background in journalism, it's connections of materiality; it's connections where the material comes from. For me, the interlinking loops—and quite a few of those loops are open, so you can change which connections you would like to make and configure the piece. That's another strand that I developed for the solo show, yeah.   Sharon: I can see. We'll hopefully have a picture of it posted with the podcast. You're wearing one of your rings. Were the loops something you saw in front of you when the metal is flat? Was that something that came to you when you were playing around with it? How did that happen?   Ute: For me, making is very much an exploration. I might have certain ideas when I go into the studio and sit, but I'm very fascinated by Japanese Zen philosophy. That philosophy talks a lot about emptiness as well as empty mind. We in the West see emptiness as a void of something we absolutely, quickly need to fill, as something missing, while in that philosophy, emptiness is the vast openness for potential. For me, I don't want to come to the studio with a fixed idea of what I'd like to do, because then I've already determined it as if I know. I don't need to explore anymore if I feel I know. So, I always kind of know what I'd like to do, but then I usually do something completely different. It's that almost empty mind of exploring metal, shapes.    Quite often it's the sculptural form that I explore. As I said, I can't draw, so I make maquettes in garden wire or in brass and explore the shape for its sculptural form. It's quite often only later that I decide for which part of the body that sculpture form would work best. Then it's weeks of tweaking the brass maquettes. I'm quite often seen wearing the maquettes, because when you create such large sculptural forms, they really need to balance and sit well on the body. It's important that I work that out while wearing them, how they engage with the body. It's only then, when I'm happy, I make the final pieces. It's only then, once the pieces are in front of me, that there's another thought process and those pieces remind me of something, remind me of the loops, how they're interconnected, how we can change our connections, other waves.    I think if you gave me a commission to make a piece about waves, I would fail. It is rather I make a piece, and then it reminds me of waves when I see them. It's kind of arresting time of that kind of movement. I'm very happy with some of the pieces that have become quite special to me. Maybe if we can add a particular armpiece for your listeners to see, it is very much a large wave, but when you put the several maquettes next to each other and you don't have any idea of scale, some people who saw the maquettes said, “Oh, that looks like a Richard Serra that you could walk into.” I think that's also why I give my pieces relatively open titles, because I don't want to pre-determine people's associations, just like I don't want to predetermine what reaction I might have to it. We all come with our own backgrounds, with our own thoughts to a piece, and it's the same. Any great artwork will elicit different reactions depending on what state of life we're in and recent experiences. I like to give pieces very open titles for the viewer and wearer to make it their own.   Sharon: So, you say you're an artist-jeweler. What is the difference between that and an artist alone or a jeweler alone? What is an artist-jeweler to you?   Ute: That is the eternal question, isn't it? That is the eternal question, and I still don't know how to answer that. When I'm asked what I do, if we're face-to-face it's very easy, because I usually wear one of my pieces. I hold it up and say, “This is what I do,” and then you decide what that means to you. The other times when you say you're a jeweler, very few people know about the art jewelry world, really surprisingly. So, most people think you're designing little hearts for the high street shops. I think that's why an artist-jeweler will then elicit another question where you can go deeper into it, but it's all just words. This is what I'm doing.    Sharon: No, it is. It's a very difficult question to answer. I usually ask people what they consider a collector, which also is a very difficult question. When you find the answer, give me a call.    You tried textiles. You tried photography. You tried sculpture. What is it about the kind of jewelry you do; why did it attract you? Why did it stand out?   Ute: I guess jewelry is not called the most intimate of art forms for nothing. I love that you can disappear in your studio and quietly work. I create everything myself with my two hands. I sculpt everything myself. With large-scale sculpture, there's much more immediacy with jewelry because I can bend the shapes with my own hands. In fact, my jewelry studio has very few tools, has no nasty chemicals. It's really my hands, a few pliers, a few mallets, mandrels. I like being able to have a spark and immediately translate that into a shape. That's also why I love ceramics. I think in my next life I'll try ceramics as well, explore that.   After setting up as a jeweler, I was commissioned to make some large-scale sculptures, and I thought, “That's amazing. That's what you wanted to do, of course.” But they're so large I had to work with a fabricator. It was a fantastic fabricator who had done it for very well-known artists, the YBAs, the Young British Artists, and did a fantastic job. But for me, it felt unfinished. I handed over the maquette. The fabricator did a wonderful job making a large piece, but usually when I finish a piece of jewelry, I then go and tweak it. It sits there for weeks, and I continue working on it. Here, I was handed over something finished. I don't want something finished. You can't bend it any more with your hands. So, it was surprisingly unsatisfying to make very large sculptures, but I'll do table-size sculptures where I can still be fully hands on. That is something I enjoy doing.   Sharon: Do you do that now, make table-size sculptures similar to jewelry that you bend?   Ute: Yeah, quite a few pieces. In fact, that is one of my favorite reactions when I show my work. People say, “Oh, this is a sculpture. I'm sure you can't wear it,” and then I put it on my hand and the person's hand, and I say, “But surely you can't wear that piece,” and it's wearable. Quite a few pieces look like they only could possibly be sculptures and there's no way to wear them. That's what I really enjoy. Many pieces have been purchased purely for the sole purpose of displaying them rather than wearing them. It's the liminal space between sculpture and wearable sculpture, and again, it's your choice.

https://designdisciplin.com/rtd-intro:: Related Books, Links, Resources*+ Bowers  (2012). The Logic of Annotated Portfolios: Communicating the Value of ‘Research through Design'. In Proc. DIS: https://dl.acm.org/doi/abs/10.1145/2317956.2317968+ Change by Design by Tim Brown: https://geni.us/change-by-design+ Conversation with Virgil Abloh on Vestoj: http://vestoj.com/does-your-jacket-have-three-armholes/+ Design Issues Journal: https://direct.mit.edu/desi+ Design Studies Journal: https://www.journals.elsevier.com/design-studies+ Desmet, Overbeeke, & Tax (2001). Designing Products with Added Emotional Value: Development and Appllcation of an Approach for Research through Design. The Design Journal https://www.tandfonline.com/doi/abs/10.2752/146069201789378496+ DiSalvo, Forlizzi, & Gemperle (2004). Discovering and Extracting Knowledge in the Design Project. In Proc. DRS: https://dl.designresearchsociety.org/cgi/viewcontent.cgi?article=2169&context=drs-conference-papers+ Drone Chi: https://www.baytas.net/research/dronechi/+ Hauser, Oogjes, Wakkary, & Verbeek (2018). An Annotated Portfolio on Doing Postphenomenology through Research Products. In Proc. DIS: https://dl.acm.org/doi/abs/10.1145/3196709.3196745+ La Delfa et al. (2020). Designing Drone Chi: Unpacking the Thinking and Making of Somaesthetic Human-Drone Interaction. In Proc. DIS: https://dl.acm.org/doi/abs/10.1145/3357236.3395589+ La Delfa et al. (2020). Drone Chi: Somaesthetic Human-Drone Interaction. In Proc. CHI: https://dl.acm.org/doi/abs/10.1145/3313831.3376786+ Lesko (1997). Industrial Design at Carnegie Institute of Technology, 1934–1967. In Journal of Design History: https://academic.oup.com/jdh/article-abstract/10/3/269/337126+ Odom et al. (2016). From Research Prototype to Research Product. In Proc. CHI: https://dl.acm.org/doi/10.1145/2858036.2858447+ Odom et al. (2018). Attending to slowness and temporality with olly and slow game. In Proc. CHI: https://doi.org/10.1145/3173574.3173651+ Odom et al. (2019). Unpacking the Thinking and Making Behind a Slow Technology Research Product with Slow Game. In Proc. C&C: https://doi.org/10.1145/3325480.3326567+ RTD | Research through Design Conference: https://www.researchthroughdesign.org/+ Slow Game by Will Odom: http://willodom.com/portfolio/portfolio/slow-game/+ Sprint by Jake Knapp: https://geni.us/sprint-dd+ The Double Diamond by the Design Council: https://www.designcouncil.org.uk/our-work/news-opinion/double-diamond-universally-accepted-depiction-design-process/+ The Lean Startup* by Eric Ries: https://geni.us/lean-startup-dd:: Connect with Design Disciplin+ Website: http://designdisciplin.com​+ Podcast: http://podcast.designdisciplin.com​+ Instagram: http://instagram.com/designdisciplin/​+ Twitter: http://twitter.com/designdisciplin/​+ YouTube: http://youtube.com/designdisciplin+ Bookstore: http://designdisciplin.com​/bookstore:: Episode Bookmarks00:00 Intro02:00 Who is this for and what to expect05:18 Origin: What is RtD and why does it exist?12:13 Purpose: What is RtD good for?15:15 Example: Xerox (1980s)17:52 Example: Slow Game (2018)20:29 Example: Drone Chi (2020)22:27 Recap and Closing*: May contain affiliate links – at no extra cost to you, we earn a commission if you purchase from these links.

In This Episode: Hosts Dan Maudhub and Phil Jones are joined by Minnie Moll, CEO of Design Council, who shares from her incredible wealth of experience about the role of creativity to drive and influence meaningful change. Minnies inspiration The Design Council Design and the climate crisis Ethics in design Female leaders Inclusive design  Company culture and collaboration The future role of AI and VR   About This Wonderful Person: Minnie Moll is Chief Executive of Design Council. She was previously Chief Executive of Jarrold Retail in Norwich – an outstanding experiential retailer with an award-winning department store; Joint Chief Executive of the...   Read More

Join Brigid and Elizabeth as they recap Elizabeth's recent trip to Bruges, Belgium with the Leaders of Design Council, baby Sophie in tow! From needing to PIVOT (I hope you read that in Ross Gellar's voice) when it came to feeding Sophie (in bathrooms and stairwells, no less) to details of an actual castle inhabited by the Vervoordt  family (yes, that Axel Vervoordt that decorated Kanye's house), they're discussing it all! There's even a quick geography lesson involved. Pivoting might have involved sweet Sophie trailing behind Elizabeth in various cabs with her aunt and uncle. But, the moral of the story: don't let an amazingly fulfilling (personally and professionally) trip pass you by just because you've got a little one! The pivots are half of the fun. Listen in for all of the details!

1.00" Leo Clancy, CEO, Enterprise Ireland talks in detail about EI, its role in the business ecosystem / funding / Elkstone / US venture capital / attracting new external investors / seed funds / emerging areas for future growth including food and agritech / the need for earlier education in digital and STEM subjects. The future of 'work from home' - when home may be Poland or Lithuania. The value of the workplace for collaborative business. He talks about the housing crisis and the lack of housing being a roadblock to hiring staff. He talks about what's coming our way with Brexit, possibly in July. He says that the direct shipping to Europe has been a gamechanger. He says that Irish companies should concentrate on the Eurozone that is underexploited. He says we have one of Europe's most culturally diverse workforces. He says EI will do more to crack the US market. He talks about EI's relationship with the LEOs, the Design Council and Udarás na Gaeltachta. He talks about the Israeli approach to doing business and whether Irish business could adopt that approach. Inflation is a huge issue, but is all over the world. He says twenty year olds should have a mentor. EI is hiring and they'd like to hear from TeamGBS members who would like to earn 'an MBA every day'.His 'hire in a heartbeat' - his brother Denis, 'the kindest individual he knows'. Hosted on Acast. See acast.com/privacy for more information.

"Trying to describe myself has always been really hard. I've never fitted into anything. Someone described me as an edge-walker the other day. And I thought, oh my God, that's the first time anyone's put me into a category that I can relate to." Nat Hunter   Nat Hunter always felt pigeon-holed, like she could only bring a small sliver of herself to work and so she co-founded her own design company, Airside in 1999. We talk about their approach: what happens if you make work somewhere where people can really show up and be themselves? We also chat about their mantra of never do something just for the money and about the eventual winding up of the company. Nat decided life was short and only wants to do stuff that has a positive impact on the planet. And as 80% of the ecological impact for products is determined in the design phase Nat talks about various approaches designers can take to have a more holistic approach. We talk about sustainability, circular economy, regenerative design, net zero, co-designing with insects and more. And we delve into how we would decide what to buy if we could only buy three items of clothing a year?    Nat Hunter, a Director of Other Today, is a designer, educator and coach, currently exploring how regenerative culture and organisational behaviour can positively impact people, society and the planet. A systems thinker and agitator for change, she brings her experience in business, design and coaching together in order to create and support change. She co-founded the multi-award winning Airside, one of the UK's first digital design studios. In 2021 Nat co-created the influential Design Council report Beyond Net Zero and is currently a Design For Planet Fellow at the Design Council.   Connect with Nat: On LinkedIn By email redfishgreenfish@gmail.com    Resources Mentioned: Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants by Robin Wall Kimmerer Sand Talk: How Indigenous Thinking Can Save the World by Tyson Yunkaporta Sherri Mitchell Beyond Net Zero: Design Council Rob Hopkins Transition Movement Leaders Eat Last by Simon Sinek Carbon Tunnel Vision Diagram B Corp Reinventing Organisations by Frederic Laloux  

Lesley Gulliver is Managing Director of design agency, The Engine Room, based in Mirfield, West Yorkshire. Her other roles include Board Director for the Design Business Association, Design Associate with the Design Council and most importantly Mum and taxi to her sports loving son. Often find on the tennis court, we talk work life balance and how the working place has changed since we both started our careers in the 90s; we discuss business culture and what makes a great agency. I loved this conversation. Yes Lesley and I are a similar age (that comes up a few times!) and both have high school age sons, but we also have a shared belief in the importance of authenticity and what great customer service looks like. I hope you enjoy! https://engineroomdesign.com (The Engine Room) Lesley on https://www.linkedin.com/in/lesleygulliver/ (LinkedIn) To find out more about Deborah's work: https://www.deborahogden.com (deborahogden.com) More details on her monthly membership The Impact Club can be found here You can https://www.deborahogden.com/subscribe/ (subscribe )to her monthly newsletter with recommendations, tools & techniques on how to enhance your personal brand and make more impact. Deborah on https://www.instagram.com/do_impact/ (Instagram) Deborah on https://twitter.com/DO_Impact (Twitter) Deborah on https://www.linkedin.com/in/deborahjogden/ (LinkedIn) Deborah's https://www.facebook.com/deborahogdenpersonalbrand (Facebook page) Join https://www.facebook.com/groups/668324376858736/?ref=pages_group_cta (The Impact Academy), Deborah's free Facebook Group

CTO の @kawasy を呼んでデザインマネージャーの業務について聞きました @kawasy の 決意表明ツイート @NishaMe1024 の決意表明ツイート “Agile” is eating design's young; or, Yet Another Reason why “embedding” designers doesn't work ユニコーン企業のひみつ ――Spotifyで学んだソフトウェアづくりと働き方 Spotify Doesn't Use the Spotify Model デザインシステムが加速させるプロダクト開発 プロダクトデザイナーと上手に協働するための心得 Webフロントエンドアプリのデザインシステムライブラリ Wantedly UI Components “広義のデザイン“が組織に根付き、“広義のデザイナー“が役目を終える時 -2022年のデザイナー市場動向- What is the framework for innovation? Design Council's evolved Double Diamond Wantedly Design リーダブルコード ――より良いコードを書くためのシンプルで実践的なテクニック Wantedly Engineering Handbook

The Color Show"Pale green is here to stay" says Elle Decor. October Mist, a "gently shaded sage" the Benjamin Moore 2022 Color of the Year feels like the natural extension of Aegan Teal, their 2021 Color of the Year. This week we talk to the woman responsible for choosing the color of the year, Andrea Magno, and explore current thinking on color from 4 expert designers: Katie Lydon, Dane Pressner, Carl D'Aquino and Francine Monaco.The Benjamin Moore 2022 Color of the Year is October Mist, #1495. Benjamin Moore:Andrea, can you tell us the secrets and the process of how you pick the Color of the Year? What does the color say about society?How did you pick October Mist?  How did you pick the name? What was the response? When do you know you got it right?Tell me about the Color of the Year event at the New York Public Library. Are you throwing a colorful party and can we call come?Designers: As designers, what is the process?Do you pick the color first and then design around the color?What is the most popular color in your projects? Is there one color you use in every project? Are we taking more risks with color since we are all home more? Color is emotional and personal, except for when its all business. Let's discuss how we use colors in our personal spaces and how it makes us feel versus our more serious public spaces or office spaces.As society moves beyond Covid, I feel like everyone is celebrating color in their clothing and in interior design. Do you agree? Do you feel like you clients are more open to go out of their comfort zone with color than ever before due to being home more? Katie, what Benjamin Moore color can't you live without? Matte vs Gloss - What are the rules and how are they changing? The magazines say color is back so why are we still seeing white kitchens? And, when is white not white?Andrea Magno, Director of Color MarketingBenjamin Moore. Andrea says “As the spaces in our homes continue to evolve, we uncover more opportunities to express our individuality and leverage the power of color to design environments that serve different functions and styles,” Katie Lydon, Interior Designer, Katie Lydon Interiors. Her work has been featured in national and international design publications, including Domino, Elle Décor, Tatler, Metropolitan Home, Lucky, The New York Times, and Town & Country. Katie has also appeared on LXTV's Open House New York and George to the Rescue.Dane Pressner, Director of Design, D'Aquino Monaco, addresses his life and career as a creative and curated design process. Joining D'Aquino Monaco in 2007, his appetite for style, fashion and pop culture have brought a unique perspective to the firm. Francine Monaco Architect , D'Aquino Monaco has created a diverse career combining the practical with the magical to create memorable timeless spaces. Francine is a professor at Pratt Institute's Interior Design department.Carl D'Aquino  Interior Designer , D'Aquino Monaco, is renowned for his ability to apply modernist sensibility and eclectic taste to contemporary design. Carl is a contributor to the Design Council for the Museum of Art and Design and a consultant to the Global Color Research Panel. Lisa Ben-Isvy Former Publisher of New York Spaces, Principal LBI Connext PR professional

On this episode, we were joined by Susan Neadle. If you work on Combination Products, Susan is someone you need to know. Her and I discuss: Her career starting in consumer health and pivoting into Medical Devices then Pharmaceuticals Design to Value, Design Excellence and Process Excellence The History of Combination Products regulation and what it was like implementing 21 CFR Part 4 as it was revealed. Creating future plans using tools like the Merlin Exercise, and Future/Back Vocabulary in Combination Products AAMI TIR 48 and TIR 105 Her involvement in ASTM, AAMI, ISPE, FPIA, DIA, AFDA, TOPRA and RAPS Prioritization, Passion and her upcoming book ------------------------------------- Susan Neadle, MS, BS, FAAO is a recognized international Combination Products and Medical Device expert with over 35 years of industry experience. Networked, published, highly active in numerous industry groups and with links to a number of teaching institutions, Susan brings deep knowledge, and genuine passion for sharing that knowledge, with others. Susan's leadership, innovation, and best practices have been recognized with multiple awards, including the Johnson Medal, Johnson & Johnson's highest honor for excellence in Research & Development, and most recently, as a Finalist in TOPRA's 2021 Awards for Regulatory Affairs Excellence. She is Principal Consultant and President of Combination Products Consulting Services LLC, applying her extensive leadership and technical skills and experience to provide hands-on design-to-value, program management, quality & compliance, and regulatory consulting services, for pharmaceutical, biotech and medical device industries. Among her many significant industry affiliations and contributions, she serves as Chair of the ISPE Combination Products CoP, lead author on the ASTM International Combination Products Standard Committee, and teaches a Master's Curriculum on Combination Products at University of Maryland Baltimore Campus. Most recently, Susan served as Head of Combination Products, Medical Devices, Digital Health & IVD Regulatory Affairs at Amgen, providing strategic leadership in global combination products/ device regulatory development and portfolio/project management from initial clinical investigation through registration and commercial lifecycle. She served as an advisor for internal regulatory policy priorities, health authority engagement and submissions approaches through strategic engagement and mentoring of colleagues for individual projects and portfolio. She led interactions with multiple global health authorities, and served as a catalyst for external consortium deliverables and strategic direction. Susan retired from Johnson & Johnson. Her distinguished career there of more than 25 years included integral leadership roles in R&D, Quality Engineering, Design-to-Value, Risk Management and Quality Systems, spanning pharmaceuticals, medical devices, and consumer health sectors, including strategic Enterprise leadership as Chair of J&J's Design Council, advancing world-class practices in customer-centric product/process design and development. She led the team that defined and successfully implemented the globally integrated business model to meet Combination Products regulations for Janssen.

Ep38 features Jo Arscott - a true creative pioneer, who mastered the art of the 'Integrated' campaign long before everyone else jumped on the bandwagon and called it ‘360'.Her billboard for the National Asthma Campaign in 1996 was a great example of this, being more like an event than a piece of OOH. Painted in clear glue, the poster was pure white when it went up at Vauxhall Roundabout for the press launch. When the journalists came back 14 days later; they were amazed. The pollution had stuck to the glue revealing the headline.Hear the full story behind this ‘The world's first ever glue poster' and more of Jo's creative work from her time at agencies all over the world.We also talked about her work as a speaker on issues of diversity and education at D&AD, Cannes and The Design Council to name but a few.And of course we heard about her Mum's cat (cat's are becoming a thing on this podcast).Thanks Jo for coming on, it was a blast. 

What would you say is one of the most daunting design challenges of our time? I hope our climate crisis at least crossed your mind. As Cat Drew argues, we as a service design community play a key role in helping to solve this crisis. Cat is the Chief Design Officer at the UK Design Council and currently championing the Design for Planet initiative. In this week's episode of the Show we talk about the opportunities designing with the planet in mind brings to organizations. And how the organizations which keep on ignoring their responsibility will be left behind. Cat shares a lot of encouraging examples of services where planet was part of the design brief. But no matter how hard you want to use design to shape a better world... If the client who is hiring you doesn't care, it's going to be a very hard task. So you need to encourage and inspire your clients to make the planet part of the design brief. It's not easy, but there are some great resources that help you do this and you'll learn about them in this episode. As a service design community we need to lead by example. Designing with the plant in mind is not a choice. It's a responsibility. This conversation with Cat hopefully inspires you to look beyond the current borders of service design! --- [ GUIDE ] -— 00:00 Welcome to episode 142 02:45 Who is Cat 03:40 60 second rapid fire 05:45 What is the UK Design Council 11:15 What is Design for Planet 14:15 Cats personal journey 17:00 Awarenes within service design 21:45 Encouraging examples 27:30 Roadblocks and challenges 35:30 How to get started 39:30 The business opportunity 42:00 What is missing 44:45 Taking responsibility 46:30 The plan ahead 48:15 Recommended resources 51:00 Final thoughts --- [ LINKS ] --- * Design for Planet Film - https://www.youtube.com/watch?v=wEkInJzvv84 * Design for Planet festival - https://www.designforplanet.org/ * Design for Planet fellows - https://www.designcouncil.org.uk/news-opinion/design-council-announces-design-planet-fellows * Design Council medium blog - https://medium.com/design-council * Salford Wetland - https://www.youtube.com/watch?v=wC-yjQemBmU * Systemic Design Framework - https://www.designcouncil.org.uk/resources/guide/download-our-systems-shifting-design-report and animation https://vimeo.com/665550484 * The climate framework https://www.climateframework.com/ * Circular Design hub - https://archive.ellenmacarthurfoundation.org/explore/* Circular-design and Circular Economy Hub - https://ce-hub.org/ * https://leap.eco/ --- [ HOW TO EXPLAIN SERVICE DESIGN ] --- Learn what it takes to get your clients, colleagues, managers, CEOs and even grandmas as excited about service design as you are. https://servicedesignshow.com/free-course

According to research by the Design Council women buy 85% of household products. Yet only 5% of designers working to create these products are female. On the Sky News Daily podcast with Dermot Murnaghan, we are joined by product development consultant Merle Hall and Clare Larkspur from FemTech Company Elvie on why women designing products for women is just good business. Daily podcast team: Senior podcast producer - Annie Joyce Podcast producer – Rosie Gillott Junior podcast producer – Aishah Rahman Interviews producer – Tatiana Alderson Archive - Simon Windsor Archive – Nelly Stefanova Archive – Rob Fellowes

The "virtual chalet" is a recurring informal event (once every 2 weeks) for the Design & Critical Thinking community to take the space & time to discuss, make sense, share ideas & experiences, find support, ask questions, etc. This week we discuss design practice (and practising design) and the misunderstanding around the importance of methods, the importance of context, the trends around Systemic Design and Systems Thinking, the Design Council's report on systemic design, and many more…

In this week's episode of The Capital of Craft, Sarah James from Craft Festival and Find a Maker talks with silversmith, Brett Payne from his home in Sheffield.  Brett is one of the UK's most eminent makers, specialising in hot forging and raising silver for over 25 years.  Brett is a Liveryman of The Worshipful Company of Goldsmiths, a Freeman of The Cutlers' Company of Hallamshire, a Fellow of the Institute of Professional Goldsmiths, a past Chairman of the Goldsmiths' Craft and Design Council and a Director of British Silver Week. Brett regularly exhibits at Craft Festival Cheltenham and Bovey Tracey.  www.craftfestival.co.uk @brettpaynesilversmith @craftfestival

Fiona worked as a sales manager, successfully selling multi-million-pound software systems yet becoming progressively more disabled. When taking clients to the latest cool restaurant or bar, she made sure that venues had the appropriate accessibility & facilities. Realising this information was of use to other disabled people, it became the basis of the website www.BlueBadgeStyle.com and the BBS App.This is now her full-time occupation and passion and is ‘redefining disability with style' and provides information on a range of issues from stylish venues (their access & facilities) to trendy equipment. She also developed BBS Galleries that displayed access information on a venue website and were awarded the EIB Social Innovation Award. BBS also won the SPARK Award from the Design Council to develop a range of stylish accessories for people who ‘have their hands full – from wheelchairs to baby buggies'. Known as the ADDITI+ON Collection, the first product being DRINK, the universal glass holder, More recently, she co-founded the global Blue Badge Access Awards – ‘Inspiring better design and Celebrating exceptional venues, Improving accessibility for all through a prestigious awards ceremony.  For her work in the built environment, she was awarded a Hon. Fellowship to RIBA in 2021 and her latest project helps others create ‘accessible yet stylish homes that are a ‘joy' to live in',  Tailored Rooms Blue Label.Above all, she wants to encourage disabled people to go out and enjoy life, whatever their disability, whatever their style, fully armed with the additional reassurance and information they need. She doesn't want anyone to suffer the indignity of accessing a smart restaurant through a bin room or having to use an accessible toilet in the pub next door!!!

In this episode: Hosts Dan Maudhub and Phil Jones are joined by Deborah Dawton, The Chief Executive at Design Business Association, as she details her advocacy for design and its impact on business. An ambassador for the UK and overseas, listen as she champions creativity within companies' products and services. About this Wonderful Person:   After completing her studies for an industry degree at  Newcastle Polytechnic, Deborah delved into the creative world. She exhibited her leadership skills during her 10-year role as managing director for her own business, Design Events.  During this time she completed various projects, for example, the launching and running of DesignSense and for the Design Council on the delivery...   Read more about Deborah

The combination of an idea's woman and a get-stuff-done woman makes for a powerful duo which is shaking things up in the design space. Their creation, The Landing 2.0., is a social design platform that allows everyone to create together. When Ellie and Miri met at the GSB, their connection was almost instant, and since that day, their relationship, and their business has grown from strength to strength. They've adopted a “quest” mindset, and aren't yet sure where they want to be, but they're so excited about the journey they're on, and after listening to what they've been working on, you will be too! In today's episode Ellie and Miri delve into the idea behind the Design Council they created, what its function is, and how it has evolved over time. We also discuss imposter syndrome, advice for dealing with it, the superpowers that Ellie and Miri feel that they have as women in the start-up space, and some of the major realizations they have had through the process of building their business. Key Points From This Episode:Ellie's number one priority in the morning.Examples of things that fuel Miri's creativity.How Miri and Ellie become aware that they are having idea problems.Why Ellie and Miri think it is beneficial that they have such different ways of thinking.Ways that Miri and Ellie's skills complement one another's in a business setting.The value of a project roadmap.Where Ellie and Miri had their biggest learnings. Realizations that Miri and Ellie had during the COVID-19 pandemic. An explanation of the quest mindset that informs how Ellie and Miri run their business.The Design Council; what it is, how it was formed, and how it has evolved over time.What drew Ellie and Miri to one another, and the closeness of their bond now.Superpowers that Miri and Ellie feel that they have as women in the start-up space.Advice for dealing with impostor syndrome.When Ellie and Miri realized they could be entrepreneurs.Links Mentioned in Today's Episode:The Landing 2.0Launchpad

Delving into the world of Design Council and its new focus on #DesignForPlanet, Chief Executive Minnie Moll joins Julia for the first episode of Bold Thinking season four. They talk about the upcoming Design for Planet Festival and how designers can do their part to address the climate emergency by putting sustainability and the planet at the forefront of everything they do.Register for the free virtual Design for Planet Festival here: designforplanet.org and follow #DesignForPlanet on social media.Find out more about Design Council, the UK's national strategic advisor on design: designcouncil.org.ukShare your comments on Twitter, Instagram or LinkedIn. Or email us at hello@thehonestbrand.com. Hosted on Acast. See acast.com/privacy for more information.

This week's guest is: Lauren Currie OBE She is the Founder of UPFRONT; on a mission to change confidence and support one million women by 2023. Lauren is a Trustee of the Design Council and Pregnant Then Screwed. In 2017, Lauren was awarded an OBE for her services to design and diversity.    As someone who runs a community for women, I see confidence (or lack thereof) coming up often as a reason why women don't follow through on incredible ideas and well thought out plans, I also see oppression within our system every day and so wanted to find out from Lauren how she has learned to challenge the way we live and function within a society that is not built to support women.    In this episode we cover: Design and it's part in entrepreneurship and innovation Systemic oppression and how the system is broken How we can use our position or privilege to create positive change  Why getting it wrong is inevitable Activism in business We explore the concept of rest and capitalism  How to take action with confidence    We hope you enjoy! Find out more about and with Lauren Currie Web: Upfront / www.laurencurrie.co IG: @_laurencurrie_ Linkedin   RESOURCES:  Sophie Walker - Five Rules for Rebellion  The Nap Ministry Pandora Sykes - How do we know we're doing it right? Basecamp Blowup: Banning Politics At Work Koa Beck - White Feminism Sheryl Sandberg - Lean In   To find out more about this podcast and to nominate a guest visit www.foundflourish.co.uk/podcast. Join the conversation using #bossingitpod and tagging us @foundflourish on Instagram, Twitter, Facebook and Linkedin.   More about Found & Flourish Found and Flourish is a growing network, online membership, media & events platform, aimed at empowering the next generation of entrepreneurial women and impact driven change-makers to launch, grow and scale their businesses. Join us by visiting www.foundflourish.co.uk.   Connect With The Hosts Lara Sheldrake Website Twitter LinkedIn Instagram Coni Longden-Jefferson Website Instagram Twitter LinkedIn

A fascinating new episode of the #21for21 podcast

What can designers do to ensure their designs and innovations are a commercial success? For our ninth consecutive year as a London Design Festival partner, UK Head of Brands & Designs, John Coldham, was joined by a panel of leading designers for a webinar discussion on how they've successfully established their businesses and protected their designs: • Martin Darbyshire, CEO and co-founder of tangerine and trustee of the Design Council, joined our panel once again, this time with Eleanor Humphrey, CEO and co-founder of TOPL, to talk about the story behind bringing TOPL's innovative non-spill cup to market and the measures taken to protect the designs. • Simone Brewster, an artist and furniture and jewellery designer with an architecture background, has been exhibited at the British Embassy during the London 2012 Olympic Games, but has also had issues with people taking her designs without permission; • Phoebe Gormley, founder of Gormley & Gamble, the first ever woman's' tailor on Savile Row talked about her experience of establishing her modern, design-led business in a traditional and often old-fashioned sector; These leaders of design-led businesses joined Gowling WLG's UK Head of Brands and Designs for a discussion on how they've successfully established their businesses and protected their designs. This podcast may contain information of general interest about current legal issues, but does not give legal advice. Gowling WLG is an international law firm working in major sectors including energy, life sciences, infrastructure, financial services, real estate and technology. We cover the latest developments relevant to you across different sectors and services. Subscribe... YouTube: https://bit.ly/2VhOhU6 Spotify: https://spoti.fi/3kgiDzZ We regularly talk about a broad range of topics that may be of interest to you. Register for an account on our website to receive our latest articles, podcasts and webinars: https://bit.ly/2VrbZKR Follow us on... LinkedIn: https://bit.ly/2WRdHsN Twitter: https://bit.ly/3n3Zljn Facebook: https://bit.ly/3zOyQlf

On Episode 4 We have an extremely candid interview with Peter Williams, who sets rest to all the burning Fashion, Management and Retail questions. Peter Williams has spent over 30 years in a variety of both executive and non-executive positions in consumer-facing businesses spanning retail, leisure, media and consumer products. From Selfridges, ASOS, boohoo, Domino's Pizza, Miinto A/S, Superdry plc, Rightmove plc, Sophia Webster to The Design Council, he has it all under his umbrella.

Cat Drew is the chief design officer at the Design Council. We talk about the role and work of Design Council, systemic design, and the shifting role of design and government and communities. Listen in to learn more about: Design Council's work The frameworks Design Council has developed The Design Economy How designers can learn from non-designers who are practicing design out in their local communities Asset-based design Speculative design Amble Harbour, a small fishing village in the UK Our Guest's Bio Cat Drew is the Chief Design Officer at the Design Council where she brings together architecture and the built environment, public sector design and business innovation to support people in living healthier, happier and safer lives. Previously, Cat has held leadership positions at FutureGov and Uscreates, was a co-founder of the UK government's Policy Lab, and combines 10 years of experience in government with an MA in Graphic Design. She speaks widely about the value of design and co-presents BBC Radio 4 The Fix. She is a member of The Point People.   Show Highlights [01:04] Cat's path from civil servant to designer. [01:38] Her frustration while working for the government. [02:39] Helping to co-found the Policy Lab and discovering design. [05:15] Her work at Design Council. [06:25] The biggest internal development happening at Design Council right now. [08:29] One example of the collaborative aspect of the Design Council's work. [10:28] The Design Council's double diamond framework. [11:37] The Framework for Innovation builds on the double diamond and adds in culture change. [12:21] The complex challenges design is being asked to solve. [13:00] The new Systemic Design framework the Design Council developed to help with these challenges. [16:02] Cat talks about Design Council's role with regard to people using this new framework. [17:40] Design “translation” as a core role of the Design Council. [18:09] The ways in which language changes meanings in different communities. [19:46] Different groups and individuals see and experience a system very differently. [20:55] The social dreaming concept. [21:57] Cat talks about some of Design Council's research and projects. [22:31] The Design Economy. [24:31] Design Difference, a project born out of COVID-19 and the pandemic. [27:10] Learning from non-designers who are out there doing design work in their communities. [29:35] Asset-based design starts from what's strong instead of what's wrong. [31:22] Cat talks about where design is heading. [31:50] Designers working to deliberately change and redesign systems. [33:50] Three themes Design Council is seeing in design now. [35:52] Encouraging more people to experiment and play with design in the real world. [38:11] Ways to use and support the work Design Council is doing. [39:08] The importance of speculative design in supporting creativity. [39:58] Policy Lab's The Future of Aging project. [41:54] Resources Cat recommends for those interested in design. [43:40] Cat answers the question, “what's your best story about design?” with a story about Amble Harbour, a fishing village in the UK.  Links Cat on Twitter Cat on LinkedIn Cat on Medium Design Council UK BBC Radio 4: The Fix Interview with Cat at UX Connections Interview with Cat at Design Week Speculative Design Design: Into the Ether TEDxWhitehall: Making government better, through data and design Book Recommendation: Why Materials Matter: Responsible Design for a Better World, by Seetal Solanki and Liz Corbin Rooted By Design Natasha Trotman    Other Design Thinking 101 Episodes You Might Like Design Thinking for the Public Sector + Building and Training Design Thinking Teams with Stephanie Wade — DT101 E14 Teaching Yourself Design Thinking + Innovating in Government with Amy J. Wilson — DT101 E19 Democracy as a Design Problem with Whitney Quesenbery — DT101 E68

Cat Drew is the chief design officer at the Design Council. We talk about the role and work of Design Council, systemic design, and the shifting role of design and government and communities. Listen in to learn more about: Design Council's work The frameworks Design Council has developed The Design Economy How designers can learn from non-designers who are practicing design out in their local communities Asset-based design Speculative design Amble Harbour, a small fishing village in the UK Our Guest's Bio Cat Drew is the Chief Design Officer at the Design Council where she brings together architecture and the built environment, public sector design and business innovation to support people in living healthier, happier and safer lives. Previously, Cat has held leadership positions at FutureGov and Uscreates, was a co-founder of the UK government's Policy Lab, and combines 10 years of experience in government with an MA in Graphic Design. She speaks widely about the value of design and co-presents BBC Radio 4 The Fix. She is a member of The Point People.   Show Highlights [01:04] Cat's path from civil servant to designer. [01:38] Her frustration while working for the government. [02:39] Helping to co-found the Policy Lab and discovering design. [05:15] Her work at Design Council. [06:25] The biggest internal development happening at Design Council right now. [08:29] One example of the collaborative aspect of the Design Council's work. [10:28] The Design Council's double diamond framework. [11:37] The Framework for Innovation builds on the double diamond and adds in culture change. [12:21] The complex challenges design is being asked to solve. [13:00] The new Systemic Design framework the Design Council developed to help with these challenges. [16:02] Cat talks about Design Council's role with regard to people using this new framework. [17:40] Design “translation” as a core role of the Design Council. [18:09] The ways in which language changes meanings in different communities. [19:46] Different groups and individuals see and experience a system very differently. [20:55] The social dreaming concept. [21:57] Cat talks about some of Design Council's research and projects. [22:31] The Design Economy. [24:31] Design Difference, a project born out of COVID-19 and the pandemic. [27:10] Learning from non-designers who are out there doing design work in their communities. [29:35] Asset-based design starts from what's strong instead of what's wrong. [31:22] Cat talks about where design is heading. [31:50] Designers working to deliberately change and redesign systems. [33:50] Three themes Design Council is seeing in design now. [35:52] Encouraging more people to experiment and play with design in the real world. [38:11] Ways to use and support the work Design Council is doing. [39:08] The importance of speculative design in supporting creativity. [39:58] Policy Lab's The Future of Aging project. [41:54] Resources Cat recommends for those interested in design. [43:40] Cat answers the question, “what's your best story about design?” with a story about Amble Harbour, a fishing village in the UK.  Links Cat on Twitter Cat on LinkedIn Cat on Medium Design Council UK BBC Radio 4: The Fix Interview with Cat at UX Connections Interview with Cat at Design Week Speculative Design Design: Into the Ether TEDxWhitehall: Making government better, through data and design Book Recommendation: Why Materials Matter: Responsible Design for a Better World, by Seetal Solanki and Liz Corbin Rooted By Design Natasha Trotman    Other Design Thinking 101 Episodes You Might Like Design Thinking for the Public Sector + Building and Training Design Thinking Teams with Stephanie Wade — DT101 E14 Teaching Yourself Design Thinking + Innovating in Government with Amy J. Wilson — DT101 E19 Democracy as a Design Problem with Whitney Quesenbery — DT101 E68

For many of you tuning in to this episode, Richard Seymour and Dick Powell will need no introduction. For those of you who have not come across their work...you are in for a treat! As you will hear in this podcast, both partners brought (and continue to bring) very different skillsets to the business, advertising designer Richard Seymour and industrial designer Dick Powell were in different cohorts at the RCA and while their paths crossed, it was only a couple of years later while both lecturing in St.Albans that a common love of motorcycles brought these two creatives together and eventually led them to join up and create the powerhouse that is SeymourPowell. They quickly established a sound reputation for the innovative and forward‐looking design of many products for leading British and overseas manufacturers. Much of their work is not for public consumption, as it is geared to developing future strategies for companies and brands, often several years from the present day. Amongst such clients is the Renault automobile company, for whom Seymour Powell produced advanced interior concepts for more than a decade. Amongst the best‐known products designed in their London studio have been the seminal Freeline, the world's first cordless kettle (1986) for Tefal, the BSA Bantam motorcycle (1994), the Baby G watches for Casio (1996), sports cameras for Minolta (1998), and a bagless vacuum cleaner for Rowenta (2001) developed from the air intakes of desert helicopters. Other significant clients have included BMW, Nokia, Clairol, ICI, Ideal Standard, Panasonic, Yamaha, and Ford's Premier Automobile Division, showing Seymour Powell's F350 Concept Super Truck (2001) at the Detroit Motor Show of 2002. They have also won several design awards including a Design Week Award (1990), a D&AD Silver Award (1991), and a BBC Design Award (1994). Both partners have also been actively involved in the promotion of design and the design profession with a wide range of inputs in design and business circles, design journalism, and broadcasting. Seymour and Powell have attracted wider public attention through their television work, most notably programmes such as the six‐part Better by Design Series (2000, produced by Channel 4 TV in conjunction with the Design Council) https://www.youtube.com/watch?v=VhAtgJ3KRj8 which focused on the advantages that could accrue from a fresh appraisal of everyday products such as kitchen bins, shopping trolleys, and razors. One such case study concept, the Bio‐form bra for Charnos, became a best‐seller in the lead up to Christmas 2000.We are indebted to Dick Powell for generously giving his time not only to this podcast but to supporting design and technology education over the years, including his 2017 lecture delivered for the D&TA at the RSA in Battersea in 2017 and freed up from behind a members paywall to accompany the launch of this podcast https://tv.data.org.uk/Designing-your-FutureSo grab a coffee, find a cosy chair, plug in your device of choice and enjoy Designed for Life in conversation with Co-founder and Chairman of internationally renowned design and innovation company SeymourPowell, Dick Powell. The Edge Foundation - We believe in a broad and balanced curriculum, interactive and engaging real-world learning, high quality technical and professional training and rich relationships between education and employers.Millions of students and educators worldwide use Onshape's online CAD platform to learn engineering design in the classroom. Onshape is professional-grade 3D CAD accessible from any device, anywhere, anytime. Onshape lets everyone design together in real-time. Nothing to get in the way of design: no installing, saving, or syncing.  Sign up for free:http://ptc.co/h9Tt50FCkb6&

Surya Vanka, speaker at the upcoming Design at Scale conference, joins Lou to discuss “Design Swarms,” which he’ll also cover during his conference presentation. Surya shares his experiences working to solve major social problems like gender discrimination and the opioid crisis through design thinking exercises. He also discusses ways leaders can step back to create more value from the “swarm.” Surya recommends: Design for the Real World: Human Ecology and Social Change by Victor Papanek https://www.amazon.com/Design-Real-World-Ecology-Social/dp/0897331532 About Surya’s talk at Design at Scale 2021: https://rosenfeldmedia.com/design-at-scale-2021/ Enterprises, even those with mature design practices, find it difficult to tap into the creativity of all of its workforce. Yet unleashing that broad creativity is now needed more than ever as success of teams depends on having the nimbleness of an ant farm to adapt and find their way around obstacles. Enterprise design processes, systems and ops are often tied to old top-down command/control organizational models. Design Swarms is an approach that has been used and adopted by teams within companies like Amazon, Amgen, Autodesk, Callison, Deutsche Bank, Lilly, T-Mobile, Microsoft, and REI to unleash swarm creativity at scale. About Surya: Surya Vanka is a transdisciplinary designer who has worked at the leading edge of physical and digital experiences. He is founder of Authentic Design, was president of the Seattle Design Festival, chair of Interaction Week 2019 and chair of 50th anniversary International Design Conference of IDSA. Surya was director of user experience at Microsoft, a tenured professor of design at the University of Illinois at Urbana-Champaign and a fellow at the prestigious Center for Advanced Study. He is creator of Design Swarms method, a light weight design technique used in business, non-profit and education worldwide. Surya won the Microsoft Engineering Best Practice Awards twice, Ohio State University 50th Anniversary Distinguished Design Alumnus Award, Microsoft Achievement Award, Accessibility Achievement Award, World Brand Congress Leadership Award and several other industry recognitions. He has been consultant to companies like Amazon, Amgen, Autodesk, Callison, Lilly, Microsoft and REI. He frequently keynotes speeches at the most prestigious conferences and has won top speaker awards three times. His work has appeared in numerous publications and news programs, including TEDx, Form, I.D., Design Council, WIRED, Interactions, the BBC and National Public Radio. Surya is the author of two books on design, several publications, and has taught design on every continent but Antarctica.

As regular listeners will know, every once in a while I break free of Material Matters’ self-imposed format and meet someone with an overview of the design world. And in this episode, I’m delighted to chat with Sir John Sorrell CBE. It’s a question really of where to start with John’s career (but here goes). He was chair of the Design Council from 1994-2000; chair of CABE (Commission for Architecture and the Built Environment) from 2004-2009; vice-president of the Chartered Society of Designers from 1989-1992; and chairman of the Design Business Association from 1990-1992. In 2014, he founded the Creative Industries Federation, stepping down as chair in 2017. Not content with any of that, he co-founded the London Design Festival in 2003, as well as the London Design Biennale in 2016 – both with Ben Evans. Perhaps most importantly, in 1999 he co-founded The Sorrell Foundation with his wife Frances, which has the aim of inspiring creativity in young people and improving lives with good design. Subsequently, they co-founded The Saturday Club Trust, which offers young people the opportunity to study subjects such as art and design at a university for free on a Saturday. And I haven’t even mentioned Newell & Sorrell, the pioneering design business he set up with Frances in 1976. This, I guess, is a long way of saying that he has been one of the most influential figures in British design for well over four decades. In this episode we talk about: adapting to the pandemic; bringing 400 trees to Somerset House for this year's London Design Biennale; creating the London Design Festival and why it took a while to find its feet; being born during an air raid in 1945 and growing up on a north London council estate; how going to a Saturday art club changed his life; starting his career in the sixties; his extraordinary marriage to Frances; Margaret Thatcher’s handkerchief and a wildly controversial project for British Airways; the importance of the Sorrell Foundation; and creating a new generation of leaders for the design world. Support the show (https://www.patreon.com/materialmatters?fan_landing=true)

BGBS 067: Margaret Hartwell | Archetypes In Branding | What's the Deeper Meaning? Margaret Hartwell is an innovation and strategy leader on a mission to empower purpose-driven change at the intersection of design, brand & culture, and technology. Her diverse accomplishments range from co-founding and establishing the innovation practice for Cognition Studio, a subsidiary of Certus Solutions, to authoring Archetypes in Branding: A Toolkit for Creatives and Strategists. She uses a transformative approach to everyday innovation and employs skills and best practices from a range of disciplines: archetypal branding, transpersonal psychology, sustainable management, and design thinking.  Her experience spans 20+ years developing design-led businesses in the US, UK, Europe, and APAC. Industries include technology, social and environmental advocacy, health and wellness, media, entertainment and the arts, leadership development, automotive, telecommunications, packaged goods, and travel. She holds her MBA in Sustainable Management from Presidio Graduate School, her BA from UC Berkeley, and an advanced coaching certification from the Institute of Transpersonal Psychology. She thinks in systems, strategies, and surprises. She creates in metaphor, music, and story and relates with empathy and curiosity. Recognized for a breadth and depth of applied skills and experience across multiple creative disciplines and business sectors, Margaret began her career as a designer as one of the founding members of Suissa Miller Advertising where she served in various roles from studio director to art director to vice president. In London, she was Director of Development for the London Design Festival and Head of Marketing for the Design Council. Returning to the U.S., consulting and coaching includes work with Saatchi & Saatchi S, PayPal, Jive, BVG, Inc., Flextronics, BFG Communications, Omegawave, Stanford Lively Arts, Verve Coffee Roasters, TwoFish Bakery, and the San Francisco Symphony. She taught "Live Exchange" in the pioneering MBA in Design Strategy (DMBA) program at the California College of the Arts, and is an engaging speaker/presenter/facilitator. Margaret has been called an information junkie with a childlike curiosity and is known for having an insatiable appetite for travel, trends, and technologies. She has been an actor, singer, improv player, photographer, scriptwriter, environmental advocate, and founder of a line of infant sportswear called zerosomething. She currently lives in Salem, Massachusetts. In this episode, you'll learn... An archetypal approach opens a door to a deeper level of connection to yourself, society, and any relationship. This helps particularly in the branding space because it is no longer about pushing your ideals, it's about relatedness. Once you recognize that failure is to be embraced, that is where your brilliance will shine through. These lessons become the tools you use throughout life. Archetypal strategy brings about a unique curiosity about life and people. It can apply to benefits beyond branding by helping people understand themselves and how they want to move in the world. Resources Websites www.margarethartwell.com www.archetypesinbranding.com www.liveworkcoaching.org www.thedowagercountess.com Clubhouse: @mphpov Twitter: @MPHpov Facebook: @ArchetypesinBrandingToolkit LinkedIn: Margaret Hartwell Instagram: @margarethartwell Quotes [33:20] The process of this kind of introspection and alignment of everything changes the way that people hold on to right and wrong. They're not as much about finding a solution, as opposed to finding a process that continues to reveal value…This is actually something that is going to grow along and with and inside and outside of us. [40:58] Branding is really about increasing the value of a relationship, much in the way that you would increase the value of a relationship with your family or a friend or your community. [56:33] It's hard to have the courage because we've been taught that we can't fail. And that's not real. Good relationships don't have conflict. No way. As human beings, you know, the more we can just say, 'Yes, awesome. That just came up; let's go there'…I think that's really where everybody's unique brilliance is, is recognizing that all those things are baseline, all those things are to be embraced. And if you just left them out of the right 'wrong box', then they're all actually just gifts and tools to be applied to however you want to live and be and do. Have a Brand Problem? We can help. Book your no-obligation, Wildstory Brand Clarity Call now.  Learn about our Brand Audit and Strategy process Identify if you need a new logo or just a refresh Determine if your business has a branding problem See examples of our work and get relevant case studies See if branding is holding your business back and can help you get to the next level Book Your Brand Clarity Call TODAY Podcast Transcript Margaret Hartwell 0:02 I used the vulnerability and shame work in my startup in New Zealand a lot to build the innovation process that change people to that change their reactions, because using innovation tools requires you to let go of that kind of judgment. And then we're never going to get to the kind of creativity or the kind of satisfaction from the daily work if they were constantly protecting something, you know, shaming someone else judging someone else. So I've seen an architectural approach have all kinds of secondary and tertiary benefits to people's relationships to people's understanding of themselves and how they want to move in the world. So it definitely can apply and way more levels than just in your brand. And for me, it's moved a lot into the culture space. Marc Gutman 1:05 podcasting from Boulder, Colorado, this is the Baby Got Back story Podcast, where we dive into the story behind the story of today's most inspiring storytellers, creators and entrepreneurs. I like big backstories and I cannot lie. I am your host, Marc Gutman is your brand the provoca tour. Maybe it's the activist. Perhaps it's the muse, Marc Gutman, and on today's episode of Baby got backstory, we are talking about meaning deeper meaning and connection. And one of my favorite topics, archetypes in branding. And before we get into this amazing episode, and I do promise that once you hear who the guest is, you'll agree that it is amazing. I'm asking you to take on the archetype of the advocate, or the companion or the cheerleader, and rate and review this podcast on Apple podcasts or Spotify. Apple and Spotify use these ratings as part of the algorithm that determines ratings on their charts. And we want them to identify this show with the archetype of the podcaster. Don't we? Thank you for your reviews. I do appreciate it. Today's guest is Margaret Hartwell. Margaret Hartwell is such a great name. Sounds very harrowing, yet playful as well. And I didn't even realize that until I just said it. But that's how I kind of see today's guest. Margaret is one of my true real life heroes, because she's the author of a book and toolkit that has transformed who I see the world and how I interact with clients, her book, archetypes and branding. The toolkit for creatives and strategists is a must read, whether you're in branding, or not. archetypes, and archetypal analysis, are all about stripping away the noise in getting down to the essence, the core, and that's also the aim of today's interview. In addition to being an author, Margaret Hartwell is an innovation and strategy leader on a mission to empower purpose driven change at the intersection of design, brand, and culture and technology. By developing people centered solutions, she serves as a guide, mentor, an alchemist. Those are all archetypes by the way. To help senior executives in teams solve complex issues. She uses a transformative approach to everyday innovation employs skills and best practices from a range of disciplines, archetypal branding, transpersonal, psychology, sustainable management, and design thinking. All topics we touch on in today's episode. Her experience spans 20 plus years developing design led businesses in the US, UK, Europe and APAC industries include technology social and environmental advocacy, health and wellness, media, entertainment and the arts, leadership development, automotive, telecommunications, packaged goods and travel, and she draws upon and expands on toolkits from the design council UK, the grove society for organizational learning, IDEO Stanford D school in Jean Lukas work at the Darden School of Business, to name just a few sources of inspiration. Recognize recognized for a breadth and depth of applied skills and experience across multiple creative disciplines and business sectors. Margaret began her career as a designer is one of the founding members of swiza Miller advertising, where she served in various roles from Studio director, the art director to Vice President. In London. She was the Director of Development for the London design festival and head of marketing for the design Council. When she returned to the US she consulted and coached with Saatchi and Saatchi Pay Pal jive Flextronics BFG communications, Stanford Lively Arts, to fish bakery in the San Francisco Symphony. She has teaching experience as she taught live exchange in the pioneering MBA and design strategy program at the California College of the Arts, and is an engaging speaker, presenter and facilitator. Margaret has been called an information junkie with a childlike curiosity is known for having an insatiable appetite for travel trends and technologies. She has been an actor, singer, improv player, photographer, script writer, environmental advocate and founder of a line of infant sport were called zero something and she currently lives in Salem, Massachusetts. And this is her story. I am here with Margaret Hartwell, innovation consultant, innovation coach, and yeah, that's all great. We're gonna talk about that. But I know Margaret, from a book that she wrote called archetypes in branding, and I have it right here. And it is literally like it's well law that got like, the corners are like kind of, you know, dinged up a little bit. And things are like noted and ripped in here. And I like more than any other book. You can see here, Margaret, like, you know, and people that are on the listen to the podcast, I'm here at the halfway house studio, I am surrounded by books. And I believe that books have energy and power. And I just love books. And so I get a lot of books. And this book is probably the one that I reach for more often than any other book because it's, we're going to talk about this book, but it's because it has knowledge that you receive when you read it. But it's like a working book, it's a book that like, has like a purpose that I work with in my job, like, on a daily basis. Now I want to talk to you about that. So I'm extremely, extremely excited to have you on the podcast. So welcome. And as we get into this, like to me, archetypes are definitely about the universal, the the essence, but they're also like sort of mystical and magical. They're like a portal or a window to me, you know, in a lens. And so with that kind of definition at least and I'm sure you have your own. When you were like a young girl, were you into these types of like portals in Windows and translation like what was what was young Margaret like? Margaret Hartwell 7:58 Gosh, well, thanks, Mark, I really pleased and chuffed that I get to chat with you on your great podcast. And that's a great opening question. Because one of the things as I was reviewing the kinds of influences and and trajectories and defining moments and stuff is I had imaginary friends that I was asked by the kin urban, my mother was asked by the kindergarten teacher to have me leave them at home because it was taking too long for me to answer questions and to do things because I was doing everything in collaboration. So yeah, I think that was huge, because my sisters are eight years older than I am. And they're identical twins. And so I had to go to the magical mystery portal world to find my twin was like, hey, they thought each other. So I made up my own and I made three, so I outnumbered them. So, but um, you know, I think combining that with super bad eyesight. Also, this is where I went into books. So for me, I love what you just said about books too. I do think they're alive. And they they are portals as well. So you combine those things together. And yeah, it was it was pretty evident early on that I had a very favorite place in my imagination. Marc Gutman 9:22 And were you a creative as a child, or did you think that you'd have a creative career did you want to do something else? Margaret Hartwell 9:28 All I wanted to do was sing? Well, I should say all I wanted to do was anything creative. You know, let's paint let's work with clay. Let's sing Let's dance, let's act let's make diagramas just anything kind of maker ish was really, I loved it. And but music was my wheel. You know, that was really where it all came together in terms of what it felt like as your body as an instrument and playing the piano. No, and story. So you know, every song that we sing has huge story too. And I think that that became like a third way of going into the mystical in a way because music so amazing in terms of its portal. Marc Gutman 10:16 Yeah, absolutely. And so you're into music and you're creative. I mean, Was this something that was supported in your household as a child did? Or did your parents want you to do something else? Yes, it Margaret Hartwell 10:30 was supported in so much is that it was the child like thing to do, and that when you grew up, you should be a doctor. So that was, that was kind of what I was told is that, ultimately, that the arts weren't a career, they were just a hobby. And I tried to debunk that. But I did go to Berkeley and Gosh, studied medicine or pre med at the time. And it was, I don't know, it's kind of funny, I look back on it now. And I kind of see the paradigm. And the paradigm was is that it was kind of like cheating to go and do something that you were already really good at. They should do things that you're not so good at. And then you are a whole and complete person. So hard work meant everything in my family. I'm a third culture kid, Canadian mother and a Chinese father. That doesn't, you don't really see it so much. But I'm actually more Chinese than my sisters from what the ancestry 23andme says. But yeah, so you know, it's a great, my parents were awesome, don't get me wrong. I mean, they really supported everything that I loved and wanted to do. And they, they were just like any parent, they wanted to make sure that I was going to be self sufficient, and be able to make a living, and they didn't see how it all works gonna come together if I was just doing the arts. So they were very happy when I got my MBA. Instead of, you know, I'm not going to med school. I'm leaving for London, and I'm doing a Shakespeare program. And my father's like, Why? I said, Well, because every doctor, you know, needs to know how to speak. And I am big pentameter, right? And it just looked to me like you've lost your mind. And my mother says, Let her go. She'll get it out of her system. Yeah, no, never got it out of my system. Marc Gutman 12:28 But I just love imagining you and your sisters having arguments about who's more Chinese, I can see it now. It's the holidays. And so take me back there to Berkeley, you're in pre med, I imagine that you've at least convinced yourself you want to be pre med, you know, like we all do, we tell ourselves that, okay, this is my path. And then something's kind of welling up in you something is saying maybe this isn't my path. What was that decision like to, to go to London, Margaret Hartwell 12:56 but like barely passing all my science classes. Fear has a way of doing that to you. But yeah, I think I got three days the whole time I was there. And it was in kinesiology, exercise, physiology and psychology and photography. So, um, what was welling up, I was singing all during college, I sang in the perfect fifth and then in the golden overtones. And that was really what I loved to do. And so I was seeing that I was kind of dying inside. And I was getting unhappy. And I was kind of isolating myself at that point. And I thought What's going on? It was, you know, I always look back and go, whatever, the first kind of crises or existential moments of awakening, and I think, before going choosing to go to London, that was mine, where I just feel like why am I doing any of this? What what's the point? I mean, it was, wasn't that I was super bad at and I was really good at, you know, intuiting people's needs and really listening to people and all that, but, but to spend the time. So yeah, that was the moment of thinking, well, I, let's see what this is going to be like. And quite frankly, that's really what kind of changed everything for me. Because I just came alive in London, and not just from the tack on the you know, the tactics and the skills building that that the Shakespeare program gave me, but really from the interest in people, and in kind of the myth and metaphor just popped. And I think if I look back, I think that was probably where the notion for an archetypical approach, kind of which I would never have been able to put the words to, but that's where it kind of took hold is I was constantly looking around corners sideways and looking for meaning what's the what's the deal. Meaning here, how does it translate into other arenas or cultures or to different people? So and, you know, Shakespeare is an amazing primmer for that kind of symbology and metaphor. So, yeah, that's where it kind of took hold. Marc Gutman 15:20 So the question I always disliked when I was going through school, because I never really knew what I wanted to do was people always ask me, they always say, what are you going to do with that? Yeah, what are you going to do with that? And so I as much as I disliked that question, I mean, were people asking you that about the Shakespeare program? What are you going to do with that? So you're going to wonder why don't you have Shakespeare but what after Margaret? What are you going to do? Margaret Hartwell 15:43 Oh, totally. Well, yes. So I was told to come home to finish my degree at Berkeley. And because three years at Berkeley didn't mean anything. So my parents said, Wait, if you want to go back, you can go back because I what I really wanted to do was go to the London Academy of Music and Dramatic Art, because musical theater then had become my thing. So what did I really want? You know, what were you going to do with that? Well, I was just going to keep studying. I love learning. I love being in school, I love, you know, playing essential. And that's what this program was, but came back and finished my degree. And my parents said, Well, what are you going to do with that? I was like, Well, I'm going to move to LA. And I'm going to try my hand at acting, and her shaking their heads completely. But at that point, being an actor, without a lot of credits, you either become an aerobics instructor or a waiter. And so I started teaching aerobics. And then I found my way into a theatre company. And at that point, I met somebody who was working on a commercial shoot. And she introduced me to my then former future boss in advertising. Unknown Speaker 16:55 So Margaret Hartwell 16:56 it was a complete like pinball of, I had no idea what I was gonna do with that. And I said, I have no idea. But you know what? I'm, again, I think I've always had a certain level of faith that whatever happened, you know, I came from a great background, and my family always had my back. And I could pretty much do whatever I wanted, anything was possible. So I went with it. And my parents were thrilled that I got into advertising. You know, finally, something that sounded like a job. So, Marc Gutman 17:31 absolutely. What was that first advertising job? Like when you were in LA? And who were you working for? And what was your responsibilities? Margaret Hartwell 17:39 So I joined suissa suissa group when we had 13 people. And I left after we had gotten the accurate account, as we said, Miller, and we've been sold to IPG, so the trajectory of this tiny little agency, I mean, when we got accurate, the headline said, you know, there's a snowball's chance in hell, that this agency is going to get this, but I was the designer on that pitch. So that's kind of where I, I was able, then at that point, to kind of parse out all my responsibilities, because in a smaller agency, I was running the studio, I was doing my own, you know, art direction for clients. I was also doing all the it, which is the joke of that of everything. But nobody else had the confidence to do it. So I was like, Okay, I'll learn this. And do that. So, yeah. So I was able, what was it like it was, it was like a total roller coaster, and really fun. I mean, la advertising in your, in your 20s and early 30s is super fun. People are unencumbered. And yeah, then it was a good support. It was it was a nice family. And I was able to have my daughter during that time. So as a single mom, that was a huge support network. So I learned a ton. And I think that's really where I learned about brand strategy. And marketing is from the creative side of advertising. Marc Gutman 19:13 Yeah, at what moment in that advertising journey? Did you think to yourself, oh, wait, like, I might be an advertising. I might make a career out of this. This might be like what the future holds for me? Yeah, Margaret Hartwell 19:25 I what moment was that? I think it was truly winning the accurate account. Because up until that point, I had just been kind of like a Swiss Army knife in terms of being our art director, designer, creative director all around whatever you need. And at that point, I thought, Hmm, maybe I really do have a knack for this for understanding people's needs and wants and finding a way to connect with them. So that there was some exchange that was mutually beneficial and so that there were a couple of great strategists at the agency to, and then ultimately, they were a huge influence. And so that when I left my agency, actually, I gotta be honest, I got laid off because it was at a really difficult time for the agency. And, and so I got laid off. And I thought, huh, what do we do when we're at our lowest moments, all change moments, we go back to London. So that's what I did. Marc Gutman 20:31 When was your first interaction with archetypes like, when did you those even become on your radar and something that you're like, Ah, this is interesting. I Margaret Hartwell 20:41 was actually in my coaching program that I took at the Institute of transpersonal psychology in Palo Alto. And we, it was goddesses and every woman, the Jean Shinoda bowling book, she also wrote gods in every man, and reading that brought all of you know, Edith Hamilton's mythology back because I studied that in high school, but never really never took hold. And Joseph Campbell, and I've been on the path with James Hellman, and, you know, and other kinds of, you know, I guess the suit, you know, the source code was a huge impact for me. But that's when I first found it. And then I found Carolyn meses work. Have you been across her? Marc Gutman 21:25 I don't know her. So the Margaret Hartwell 21:26 book, so she isn't a medical intuitive. And she wrote a book called sacred contracts, that has outlined very descriptions of a lot of archetypes. And she uses archetypes as a way of doing just like we would in branding as a shorthand for understanding people's drives and journeys and motivations. And that's a nice, so I found that book. And I thought, this is pretty cool. I don't know what. And I looked more into it. And she actually had a deck of cards. So I could backup that at the time, I was doing brand strategy work as a consultant, just kind of for hire. And so when I found these cards that Carolyn mace had done, I went to the guy that I was working with, who's actually my co author, Josh chin. And I said, you know, can I trial working with the right kind of client with these cards and lists? Let's see if the brand strategy process goes differently, or let's just experiment with it. And the feedback that we got was the cards were way too, whoo. And it just, it made them feel like, you know, somebody was trying to read their Tarot or something. And that it, that it wasn't validated. And it wasn't real at that point. So, so yeah, so Josh, and I, you can clap, well, maybe this is an opportunity. And he had had an agreement with his publisher for previous books that they had the agency had published. And they had been kind of after him saying, well, what's next? So Josh came to me and said, you want to write a book about archetypes and branding? I went, sure. Okay. Because it was working, you know, the, the process, the dialogue, the kind of different conversations that we were having, were actually unlocking areas that were resistances in a business, that by using this archetypical kind of world, somehow it gave them a 30,000 foot view, and they soften some of the ego identity attachments that people had about what their brand was supposed to be or how they were going to do things. So yeah, that's a long winded answer to your How did you first find archetypes? Marc Gutman 23:49 No, it's amazing. I want to know and it's funny that you say woo so you know as I mentioned, I love them and I'm a little like, you know, little dislike neurotic and like the little perforations on the cards bother him. So I bought some of your cards like the Korean version like back when you could get them real easily. And then I had someone at Etsy make me a special leather case because when I bring them out that's like I'm like this is this is some This is magic little bit you know, and we're gonna learn to go through the deck and I agree there's just something that you conversate because I don't think most client especially when you want to involve like the leadership team half the words like they don't have the words and so the conversation that comes up out of these is so amazing. But look, summon another team had already written kind of what was considered the book on archetypes, you know, and Carolyn Pearson and Margaret mark and, and they they wrote they wrote about 12 of them so like, why not? Like, why is that not just enough? Like, why did you create this amazing book with six because now it seems so easy and obvious to me, but like, also must seem really daunting. You know? Like, like, why didn't you think that there was a market for this? Well, first Margaret Hartwell 25:02 off, I mean, the here on the outlaw wow, you know, this is all the work is standing on their shoulders totally I give them massive props, they were at the forefront of bringing this, of course into the business and branding world. And so it just wasn't nuanced enough for me. I from I started out, you know, looking at things and they, they felt like they were bordering on stereotypes, or, like so many words that kind of find their way into their vernacular that they end up losing their meaning losing their unique essence and stuff. And I think that's true as culture evolves is that, you know, words go in and out of having meanings. So I didn't see any thing wrong with trying to, you know, nuance something a little bit, you know, nuanced the magician, to an alchemist. You know, why, why wouldn't you do that? And so I guess, I mean, then the next probably another theme, you know, people ask me, why do you do this? I think or why did I do anything? Like in my life, man? Pretty much my answers were Why not? Do it? So, yeah, it was a little daunting. And on the first to say that, you know, we're here with writing any book that gets published? Like, I go back, and I shake my head, like, No, no, I should put that there should have put that there. You know, there's always improved room for improvement. So, yeah, just, I've got a list on my computer of the next kind of set to flesh out with people. And I'm looking for a way to, to maybe do that in a collaborative sense. So, you know, somebody came to me and said, will you work with me, as a brand new practitioner, we work with me to find this as a unique expression of an architect for this client. And we did and we completely front fleshed out the connoisseur. And it was super fun and super cool to work together like that. But I love your cover. And that makes me You just can't know how much it means to know that something that I've poured my heart and soul into, has meaning for people. It's really, it's really lovely. And I love that they've got the little cover for it and everything. Marc Gutman 27:25 No, I mean, means a lot to me, it's meant a lot to people I've worked with and clients, and did you do the artwork on these cards? Is these your design creative, Margaret Hartwell 27:33 creative director, creative director, with Josh, he and I both, but we had an amazing team of designers. So the breadth of designers, you know, of course, you see different styles all throughout there, but we all know so so we're kinda It was kind of our, our backstop if you will, like, if this wasn't going to work, we thought, Well, at least we'll have something that we could say, well, I don't like green or, you know, like, I like that style of design that clients could say. So we're backing ourselves up with some some other layer of meaning or usefulness in the design world for that, hence, the different designs. Oh, Marc Gutman 28:14 yeah. And I find archetypes. So interesting. I've often just thought about, like, completely writing an entire agency process around our top the bottom, like just being like, like archetypes, I haven't gotten there yet. But when you work with clients, what's kind of your go to way of using archetypes? How do you like to start with the cards and the conversation? And what do you ultimately hoping they're going to, they're going to land on or discover, Margaret Hartwell 28:40 right? So I'm rarely hired to do the one thing to do just the archetype work. It's, it's odd how the first they'll come, because they want to do architectural work. And then we have the initial conversation. And it always kind of flushes out into something that's more what you would just call a big brand strategy, like the work that you do. So the archetypes are, I see them as part of the Gestalt of your brand strategy in a sense that you can't ask them to do all the heavy lifting. And also, I think that they're evolving. So as as stakeholders change and their relationships with the brand change, then they have to, they have to have a certain developmental path to them as well. So I usually include a developmental path for an architectural approach. But to your question about how do I, how do I usually start? It's kind of a classic design thinking process where I do a kind of discovery phase to understand where there may be gaps or potential alignments to be found. And then we go into really exploring what has been done before because I don't want people thinking that you Let's not throw the baby out with the bathwater. What What can we use moving forward? And and then they usually just it's a codification of truly what value they're providing what values they have, what is their mission, you know, and getting them to distill that. And at that point, I do it pretty much the same way that that I said, I do it in the book, which is that you you just sort with a facilitated question process. And I think that's probably, if I will, you know, say the secret sauce is because you can't just do this digitally and go, Oh, I've got my archetype. Now, there's a deep reflection that says, You don't even tell you because you're doing it all the time to it reflects back something that resonates like you're almost you can feel it in the room when it when it's happening. There's that term entrainment, which is that musical term, where a frequency will start to create another frequency at the same resonant vibration, that's what I feel when we're starting to get close in the sorting process and in the questioning process. And then before we actually decide is not really the right word, because we've been revealing things all along. But before we say commit, choosing commit to a process of including archetypes throughout the value chain, we actually dig into the value chain, and see whether or not this this archetypical expression can come to life. In all the different areas of the business in the operations in the you know, in the processes and the systems in marketing and sales? How can it become a organizing principle for both the brand and the culture? So those are the kinds of questions I asked. And it's really more about chunking them down into modules that I do in the different workshops. And I use a lot of other exercises to, to elicit this, the kind of resonance that you will. And a lot of them are design thinking exercises, I like to really see how an art we put it to the test before we choose and commit. So what would this how would this affect the customer journey? Right? Does does this affect your value proposition? How does this align with, you know, the strategic path for the business? Because that might shift things as well? Like, are they on an m&a track? Because at that point, we're actually dressing up something differently than we would if we were a startup. So those overlays, the developmental overlays of the business come into factor as well. Marc Gutman 32:57 Do you find it hard to sort of back up or back out if you've chosen a archetype? And you've gone through this prototyping, if you will? And you're like, that's not working design? Everyone just kind of says, Yeah, like, it's not working? Margaret Hartwell 33:11 Pretty much at that point. No, you know, what, I'm curious to see what your experience with the process is. But for me, the process of this kind of introspection, and alignment of everything changes the way that people hold on to right and wrong. They, there's not as much about finding a solution, as opposed to finding a process that continues to reveal value. And it's not so solution based. So it's not just one and done, you know, everybody understands that this we're going this is some actually something that is going to grow along. And with an inside and outside of us, we've actually changed the game. And it you know, it's not for everybody. Some people really want just a solution. And it's pretty amazing to watch them fight. Yeah. And you just go Okay, well, this isn't the right time. I'm not the right one for you. So that's okay. Marc Gutman 34:19 A lot of it. And, you know, I think about that, I mean, one of the challenges I have with clients is they are so like, solution oriented, even when it comes down to working with archetypes. And so they're like, like, okay, like, what are we doing here? Like, what are we trying to get to and right, and, you know, so I've, I have put some parameters around it. You know, I'll say things like, Oh, well, we want to find your archetype that makes you want your like the resonates with your why or the architecture that makes you unique in your space. But that's just kind of the way I've done it because I feel like you have to put these like these parameters, so the client can understand what we're Trying to get otherwise, it's harder for them, it's a little too little too woowoo, you know, and Margaret Hartwell 35:05 I totally agree. And I'm kinda like them down the edge to kind of calm down the cognitive dissonance if you will. And usually, I've done a poll pre education about the value of archetypes and how they, you know, increase your economic value, when you know what a brand lead valuation looks like, and how it actually translate into an intangible asset for your m&a if that's what you're doing. And then also just, you know, really looking at educating them in a way that gets them on the same page, so that they, they'd let go a little bit to kind of shake some loose, so and then you can do those things without that. The other piece that I think that's been really important lately, for me, is Bernie Browns work fitting out founded, seemingly, you know, a long time ago, but I used the vulnerability and shame work in my startup in New Zealand a lot to build the innovation process, and that change people to that change their reactions, because using innovation tools requires you to let go of that kind of judgment. And then we're never going to get to the kind of creativity, or the kind of satisfaction from the daily work, if they were constantly protecting something, you know, shaming someone else judging someone else. So I've seen an architectural approach, have all kinds of, you know, secondary and tertiary benefits to people's relationships to people's understanding of themselves and how they want to move in the world. So it definitely can apply on way more levels than just in your brand. And for me, it's moved a lot into the culture space. Marc Gutman 37:04 A common question I get all the time is Mark, can you help me with our brand? Yes, we help companies solve branding problems. And the first step would be to schedule a no obligation brand clarity call, we'll link to that in the show notes, or head over to wildstorm comm and send us an email, we'll get you booked right away. So whether you're just getting started with a new business, or whether you've done some work and need a refresh, or whether you're a brand that's high performing and wants to stay there, we can help. After you book, your brand clarity call, you'll learn about our brand audit and strategy process, we'll identify if you need a new logo or just a refresh, will determine if your business has a branding problem. And you'll see examples of our work and get relevant case studies. We'll also see if branding is holding your business back and can help you get to the next level. So what are you waiting for, build the brand you've always dreamed of. Again, we'll link to that in the show notes or head over to wildstorm comm and send us an email. Now back to the show. So my friend assha she's a brand strategist, she knew I was talking to you and she wanted me to ask you a question she she wants to know why some brand strategist like us use archetypes, then why some don't like what's your what's your thought on that? Like? We'd like sort of in what and perhaps, I think to broaden the scope of the question, What might those other brand strategist be be missing by not employing archetypes in their work? Margaret Hartwell 38:50 Oh, gosh, why do some users and some not? Well, I think there are a lot of people, regardless of what they do Alicia's in brand strategy, the think that there's a way, a way for the way. And that if you just do the way, then you'll just get what you want. There's like this linear, aided, you know, Zed kind of thing that you get. And they like they have a certain commitment to that kind of process. They give some confidence. They can replicate it, there's bits, it's something that they have identified with and studied with. But, gosh, I'm stopping myself, but I'm gonna go ahead and say it. You know, it's there was this guy who put archetypes in brain as he put it on his bullshit meter. And he said it was the sixth biggest marketing bullshit thing that ever was, and I just burst out laughing I and I thought it was great because it's like, we were right after Seth Godin work. And it was like, yeah, you made it right after so But I think that the gig is up for people in, in any form of consulting or business, or helping or creativity, maybe even anyone, that you can't bring your whole self to things anymore. And I think that archetypes, you have to do that. Now, what I mean to say, probably got my negatives caught up there. But the art and architectural approach, I think, just opens a door to a deeper level of connection with yourself, with your society with any any relationships. And I think understanding that branding now isn't is about is no longer push and telling it's relatedness. And we and I'm not saying anything that you are meant all of your listeners are already across. But it's an orienting principle to understand that a brand. Branding is really about increasing the value of a relationship, so much in the way that you would increase the value of relationship with your family or a friend or your community. So why do they not use them? I think they're scared of them, because they don't know how to flesh them out into a 360 degree, living and bodied way of being. And I will admit, I probably have a leg up here, because I studied acting, I mean, you I know how to step into a character and kind of feel what that is. Right? You know, I've done a ton of improv. So, you know, just the idea of sparking new thing of new ideas off of other people and being able to play in that space. I've studied a ton of psychology. So I understand motivation and behavior and how to move people in that sense. And I've also been in the art world and the sustainability world, where you understand that everything is connected on some level. And it's just, it's we're working in a system. So to answer your question, in the most long winded way, is that I think that people don't use them because they don't really grok the depth of them, and that they're part of a system. So they still see it as a separate, you know, branding is still something separate. I think it's like the thread that is, who we are, and who a company is. So that's why I think people who are naturally curious, and always continuously learning are the most successful brand. Practitioners out there for an archetypal strategy or for even if they don't use archetypes, because they're just, they're just curious about life and curious about people. And they look at the cross sections, which is what I think archetypes do. Marc Gutman 42:57 Absolutely. And that was a great answer. Not long winded. And you touched on this, but I just want to clarify, when when you're using archetypes in the archetypal analysis, are you starting off that way? and using it as a centering device? Are you doing it later? Like a lot of times? I'll do it later in the process, especially like when we're in a more typical brand strategy process like personality, voice and tone. That's where, you know, it comes up a lot for me, because I heard you speaking. Sounds like it could be very useful. Maybe in the beginning of the process, especially when you're talking about like purpose and why and why do we exist? Is that how do you approach that? Well, Margaret Hartwell 43:36 I've been criticized for always approaching everything uniquely, which is why I probably work harder than I have to. Because everything seems like it's some bespoke thing. Again, I have to say, I think I just feel my way, I wish I could say that there was a process but you can from the discovery, half an hour with with a company and a discovery session about what it is they're saying they want, what it is that they're doing, and asking them where they want to be revealed something that tells me then, where this needs to happen. And I've done it at the very beginning, just to kind of ground them into the notion of talking about what's going on in a story fashion with people that have specific drivers and motivations and then universal stories to them. I've done it in the middle, and I've done it with with each one of the little teams too. So that was an interesting one. Instead of doing it with the C suite. I went in and did the exercise with each one of the kinds of teams marketing and sales, Ops, HR, and even finance. So he did one with each one of those. And then I asked one person out of each one of those to come with me, and then we did it with the C suite Bigger. And those people were, were so that they were, of course, really engaged at that point. And loving the process, that they were the greatest kind of contagion excitement for the process that the C suite had to give up their Oh, boohoo on it all. And, and they were fed by the people that worked really were on the front lines, I don't like to use those metaphors. But you know that in the trenches with that with the company's purpose, and not just directing it, so I've used them at every different phase, it's this crazy, but it's really satisfying to walk back into a client's office and see the image of the car, somebody has it on their t shirt, or somebody is using it within a mug, or, or, or they're actually sitting there because we do some, some grounding work, I guess you could say, for creativity purposes, to get you in a place where you can hear your own creative news. And so they have a little technique that I teach them. So I'm watching them do it, it's pretty cool. It comes from Eric Moselle, who's a renowned kind of artistic and creativity coach. And so you know, it's a breathing process, but it it puts people quickly into a space of being able to channel the archetype, the story of that archetype. So, so yeah, it's it's everywhere. At the beginning, I think it was more that we use it right, we use it more in a kind of more traditional sense that it came, it came after, usually, after the collage, I used to do a lot of collaging, with people to try and get them to, to elicit what was going on visually for them, and also to hear how they would tell a story because we'd have them collage on a certain theme. And then they would have to tell the story back to the group, while listening to music telling me then which music actually worked for them, too. So it was it was a little bit more of a predictable process at that time. But then, I've seen it just it seems to work everywhere now. So lots of applications. Marc Gutman 47:14 So many. And that's and that's what's so great about archetypes, and archetypal analysis. What's it like? Being the archetypes and branding person being the expert? Like what's hard about it? Like what I mean, I imagine that a lot of people come to you for different things, you get a lot of probably comments and criticism, like the like, like the person that said, You were the six most bullshit marketing trend or whatever, like, exactly, yeah, I mean, what's what's hard about it, like, like being having put this work into the world, and so many people resonating with it and using it, which is great, but like, what, what don't we see about that? Margaret Hartwell 47:54 I guess, based on who I am, and I'm, you know, which is a overlay all unto itself to the work, I guess what's hard is that sometimes it does make me want to hide, like, I'm going to disappoint people, or that I won't be able to find it with them, or, you know, sometimes getting too egoic about and find it for them, you know, that somehow I will let them down. And I think that's been the gift and the challenge of having this work kind of fall into my lap, where the threads of my, all of my education and training and everything kind of came together is that the task now is again, to just recognize that, whatever is going to be is needs to be and to trust that we will get there together. And so to not get too attached, I think that's what's hard is that it's like having a baby in a way is like, Hey, don't criticize my baby. But do whatever, you know, good days and bad days, too. There's there's definitely people that like to criticize, and all I think back to is the way that Bernie Brown has brought the the quote about being, you know, kudos to the man in the arena, as like, Hey, I'm in the arena. Like maybe bloody but I'm, I'm in there, you know, one thing sincerely, to help and to, to guide in a way business to be the powerful force for change that I know it is, and I know it can be. So that's my whole driver of why I'm in it. So I just have to keep reminding myself that's what's hard. is even when you forget sometimes in the midst of it all that this is you have to return to your why, like you said earlier, you know, always Marc Gutman 49:55 so I imagine this is a lot like picking your favorite child But everyone, you know, and and, you know, I tell people, you know, I have three, I have three kids and I tell people, I don't have a favorite overall child. But I always do have a favorite at any given moment. And so yes, you know, do you have a favorite archetype? At this moment? Or what? What right now would you say? Is your your favorite archetype and why? Well, Margaret Hartwell 50:25 so I'll answer it from two different places. One from a play place, and one from a meaning place. Not that the two are, are not together. But what's happening in the world right now from a social justice perspective is soul destroying to me. And to me then, but I really, if we can awaken the strength of the activist in people that think that doesn't touch them, but it is shifting them. It's, I love the power of the activist. I love the confidence and the, the giving ness of it, you know, the, the infusion of doing what's really right for humanity. So that one's high on my, my favorite slash right now. I think from the play position. I cannot lie. You like big stories. I cannot like I like the provocateur, I cannot lie. I just, it's anything that wakes people up is totally my favorite thing. Marc Gutman 51:36 So what's your favorite? What's your favorite provocateur brand right now? Margaret Hartwell 51:41 Oh, Marc Gutman 51:43 that's such a tough question. But like what's like, just what's one that's on your mind? And that represents that archetype? Well, well. Margaret Hartwell 51:50 So this is where I think that what I'm going to name is, is actually a company where I think that the provocateur is either a secondary or tertiary. But the insurance company lemonade, has they're they're disrupting and provoking a different mindset around the insurance industry. Are you across their work? Marc Gutman 52:11 Yeah, I'm familiar with lemonade. Oh, yeah. Margaret Hartwell 52:13 It's I just think it's amazing what they've done with, you know, machine learning to get claims processed quickly, and, and that it's actually in the benefit for that the collaborative in a way. So I think that that's part of they've provoked people to say, I don't need to accept this. So I think I think there's probably a big provocateur in that company right now. But I wouldn't say that they're provocative or bland. I really think they're citizen brand. Citizen Jester, actually, cuz I just think they're fun. You know, funny. Marc Gutman 52:54 Talk a little bit about that really quick. I mean, you mentioned primary, secondary, tertiary, like, how do you organize that and use that as overlapping lenses? when you're when you're talking about archetypes? Margaret Hartwell 53:05 Yeah. Um, I do. Again, I know I said this in the book, but I do kind of think of it as you're wearing different clothes, you're still the same person. But when you go hiking, you're not going to wear black tie, you know. And so the primary and secondary and tertiary show up, like you just said, as lenses for I like to think of them as facets of, you know, like a, like looking at a kaleidoscope if you if you change the the orientation just a little bit, you get a completely different color picture and all that it's still the same Kaleidoscope and it still has all the same parts, you're just choosing to put one part of it forward with the intent of not being what kind of sycophant Would you like me to be, but with the intent of actually connecting? So what part of me is going to connect the most what authentic part of me, so if that's my tertiary, or you know, the fine, if that's the tertiary archetype, that's fine. Um, for I'm just thinking of a way that this was kind of quantified is that we had metrics, we established metrics for kind of how much of certain pieces of communication would be in the primary, secondary and tertiary. So we tried to keep a balance, we graded basically how the writing was netting out in terms of the stories so that we understood that we weren't over indexing on one or another. And that if we did find ourselves shifting around, or being uncomfortable with it, it was time to refresh Marc Gutman 54:47 of it. I love it. And so, you know, I started off the show, introducing you as an innovation consultant, innovation coach. What is that like? Like, what is like, what does that mean? And how does that show up for you? Because that's where you're focusing your time right now, Margaret Hartwell 55:01 I think I, basically, I'm a change person, I just am a change agent. And that's usually what I get hired to do is to do some kind of change with people, whether it's on a one to one basis, or on a company basis or a family basis, because I, I also do just coaching with people as well, executive coaching. So, you know, I have attorneys and CEOs that are looking for a different way of showing up and recognizing, much like you said earlier in the, in our chat, is that you kind of know, something is going on inside of you. And an architectural lens can help with that, and other kinds of connection as well. So, innovation is just a thing for me a fancy word for creative change. So I like to say that I instill creative courage in people. And that's what I do, and help to do. Marc Gutman 56:07 Why is it hard for people, your clients to have creative courage? You know, it's not easy? Margaret Hartwell 56:13 Yeah. Well, we've been fed a pretty steady stream of fear breaks, you know, steady diet of fear, recently, a lot. And I think that the, the macro world is also making us feel very, you know, insecure, and, and changing. And so it's hard to have the courage because we've been taught that we can't fail. And that's not real. You know, it's like, like, good relationships don't have conflict. No way. You know, like, yeah, and if you're a successful person, you don't fail. Sorry, the human beings, you know, the more we can just say, yes, awesome, that just came up, let's go there. I think that I'm just keep looking at your hat mark. And I think that's really where everybody's unique brilliance is, is recognizing that all those things are baseline, all those things are to be embraced. And if you if you just left them out of the right wrong box, then they're all actually just gifts and tools to be applied to however you want to live and be and do. Marc Gutman 57:25 And so we're in the midst of a pandemic, pandemic, hopefully winding down. But how have you been dealing with archetypes because I talked a lot about, you know, my box and my cards, and it's so magical to be in a room. So how have you translated this into a tool that people can use virtually? Well, Margaret Hartwell 57:45 I think I've mentioned to you that my favorite tool is Miro, how give them a shameless plug, I don't own any stock or anything. But to me, that has changed everything. The ability to collaborate in a virtual space on a whiteboard in that way with post its I mean, I can run innovation workshops in the same way that I did, you know, physically, it is what I had to get used to was using a couple of different monitors to make sure that I could still really catch into people's reactions and in their engagement. And so how is it changed the way I facilitate? Well, I, I'm much more cognizant of getting people to, to play specific roles for me, I don't because I'm needing to watch in a way where I can't sense it as much. I have, I always have a timekeeper with me, that's only doing that somebody who's looking at my time to Agenda sit, you know, saying, Hey, we only got five more minutes for this one, what do we want to move. And also great note takers, because I can't do all those things. Virtually, I can actually take notes, when I'm there physically, and going around, because somehow that works out because it's kind of part of the making of it all. But it can't seem to do that in a virtual space. So having good note takers and people who are actually listening, and putting in putting the stuff into the boards has been important. I found that Nero was an easy way for people to sort as well, because they just, I just put up all of the archetypes and then they would just pull into piles. And then we'd sword again. So that's what it is. I think I've worked only with Miro and zoom. And now they have an integration. Thank you safeer Marc Gutman 59:40 Yeah, I like mirror to mirror if you're listening, I don't like your pricing model, we have to talk about that. We're not gonna use time, it takes a lot of management on my time. Like, I don't need to be managing like seats and things. But what I also wanted you to mention, you kind of alluded to it, but I just want everyone to know that Margaret has also digitized all the cards and so you You can go to her website, we'll link to that in the show notes. You can grab a licensed version of those cards and bring them into Miro, so that you can play around with them, which I think is amazing. You know, and I think it really, look, is it as good? No. But is it the next best thing? Absolutely. And I think it's really made things amazing. So I just want people to be aware of that if people are looking to get into archetypal analysis, like how would you suggest they get started? I mean, you know, I'm assuming get your book and then what? Margaret Hartwell 1:00:30 Well, I would like to get them sooner than that, in so much is, gosh, be curious, be hungry, you know, be a hedonist at the shore gets bored of life and just study and look and observe and witness anything that you can. And then once you've identified that this is really a path for you in terms of, of brand, don't stop learning about yourself and learning about myth and story and narrative. You know, that to me, I think is deepening your, your resonance with the impact that different messages have is one of the best ways to hone your skill at on earthing and revealing a true archetypical brand rallying cry, if you will. So, yeah, that's what I would say. And then yes, of course, you know, read Margaret, Mark, read Carolyn mace, read Joseph Campbell, you know, just read, read, read, read and watch. I think films are one of the greatest ways of learning about, you know, what is alive in a culture? What are the influences, so I guess it's really more just about being really hungry, and for knowledge, and for input stimulus, and looking for the intersections and then making sure that they also somehow come together for positive meaning, and that you take responsibility for the impact that you create. So that the way I would say get in how to get into this business, you know, follow your nose, you'll be led. Marc Gutman 1:02:12 And if you're listening, I'll just say, Margaret's being humble. Her book synthesizes everything. I'll admit something right here on the show, I have tried to read Joseph Campbell's work like 100 times I get through maybe 30%. Each time at best. I want to tell everybody that I'm a Joseph Campbell person. It's pretty, it's pretty rough. So if you want to go through that, you know, some of that academia Be my guest. But if you want to have something that's quick and actionable, and synthesizes it with some beautiful artwork, as well, as great words, I highly, highly recommend the book, Margaret. Unknown Speaker 1:02:48 Thanks, Mark. Marc Gutman 1:02:49 What's Yeah, by the way, I keep seeing your name Margaret Hartwell on zoom. I'm like, What a cool name like Margaret. Well, like it sounds like like, like, maybe work like at the newspaper and a comic book or something like murder. I just love it. But what's next for Margaret Hartwell? What? What are you most looking forward to? Margaret Hartwell 1:03:07 Well, I'm looking forward to getting back with people. Gosh, I missed I mean, I'm kind of an introvert. I am an introvert. And I didn't realize how much I really wanted to be around people. So what's next is really enjoying being able to just connect with people in all areas of work and play and community and everything. I think your question was probably more in terms of what am I going to do next? Or where is my work taking me? Unknown Speaker 1:03:36 Am I right? That's one Marc Gutman 1:03:37 way to take it. Absolutely. Margaret Hartwell 1:03:39 Well, so strangely enough, I've gotten to travel the world with work, and I've just loved being able to do it. And I really am traveling hard, you know, three, four trips to China, New Zealand, Australia, it gets really hard. And I I've been getting a little tired of it. So my partner and I actually bought a huge Victorian in Salem, and we've been renovating it. So now the hope is that we bring kind of the world to us here. So that's one component of it. Because it's amazing how many people that have booked into our Airbnb have actually read the book, this wild lady, well, I guess Salem's kind of all archetypes, right? So that's kind of just in the background for fun, but it's really, I'm really keen to move into more of a coaching and teaching place at this point. I'd like to keep on, you know, maybe 234 clients, but teachings really amazing. I taught at the California College of the Arts, and it was one of in the design MBA program and I loved it and so I think the future is going to hold more Teaching and building out an online course right now again, when came out when the book was first published, but it was less than what I'd be proud of. So doing that building that out. And, and we'll see how the coaching goes really working with individuals, practitioners who want another sounding board or another input for bigger clients that they're doing this work with. Marc Gutman 1:05:26 And we'll make sure to link to all your contact info in the show notes, if anyone's interested in continuing that work with you. Margaret Hartwell 1:05:32 Yeah, I will say Mark if people want to, you know, if they want to follow me on Instagram, and then send me a message, just put the vgts or what does that maybe not backstory did GPS. There it is. What is it again? Mark, Marc Gutman 1:05:47 BG bs? No, no. Yeah, PGP Margaret Hartwell 1:05:51 got back. So yes, sir. Just put that in your message. And I'll send you an email to give you a discount on the the course when it comes out. So Marc Gutman 1:05:59 that's fantastic. Thank you for that. I'm sure there's gonna be a lot of people who are interested, Margaret, as we come to a close here, and we're running out of time, I'm going to think back, I want to think back to that. That little Margaret version of yourself that was singing and dancing and, you know, didn't have a care in the world. And what do you think she'd say, if she saw you today? Margaret Hartwell 1:06:24 She's probably say, See, I told you so. And that she, she had such faith, that being a hybrid divergent was okay. And that she just lived it and all that and expend a lot of time trying to get back to that place. So they are an archetypical perspective, the book, all of it came together. And that would be her closing shot. I think it's like, See, I told you, so he told you, it'd be okay. You'd get it all, all the creativity, all the fun people, all the arts, you know, all the meaning. It's all there. Marc Gutman 1:07:08 Then that is Margaret Hartwell, author of archetypes in branding, go buy the book, we'll link to it in the show notes. And look, I get nothing from your purchase, I have no vested interest or incentive in you buying this book. Other than I want you to open up your aperture, broaden your possibilities. And think, a little more human. One thing we touched on, but didn't really explain is that the book explains all this awesome archetype stuff. But there are also 60 cards in the back that punch out. So you can get a full deck of cards too. You can apply this in your branding work, professional life, writing personal life, there really are so many applications, go to Amazon and get the book right now. One nugget that stood out to me was when Margaret said, brand is about increasing the value of a relationship. And at the end of the day, that's it. Now how we get there isn't always simple or easy, just like real relationships. But I think what matters is that we show up. We keep working at it, because we want to because we care. And over time, the value of that relationship increases even when we make mistakes, put her foot in her mouth, or have a bad day. brands are no different. I hope you enjoyed this conversation as much as I did. It was such a treat to talk with Margaret here her perspective and learn about what she's doing next. I'm not joking when I say Margaret is a hero to me. And I hope you got as much from this episode as I did. A big thank you to Margaret Hartwell. I want to be your BFF let me know if I can send you one half of a branding BFF locket and we can make it official. We will link to all things Margaret Hartwell in the show notes, her book, her website, her course. Well, all things and if you know of a guest who should appear on our show, please drop me a line at podcast at wildstorm calm. Our b

Dr. Eddie Obeng is the founder of Pentacle a Virtual Business School and creator of QUBE - a 'virtual reality' platform that runs the business school. Eddie is the author of 9 books roughly outlining how and why organizations need to transform and specifically on capabilities like innovation, leadership, project management, organizational design, change management, business strategy.  He's a regular contributor to publications like Financial Time and Project Management Today. Eddie is an demand speaker who presents on global stages like TED, TEDx, Google Zeitgeist, London Business Form, Gartner IT forum.  He's a former member of the UK government’s Design Council, Professor at the Henley Business School and former Director of Hult International Business School for Executive Education. I hope you enjoy this conversation with Eddie as much as I did.Timestamps 1:15 – Intro to Eddie Obeng3:55 – Hopes & Fears: A tool for agenda setting7:20 – A summary of Eddie’s TEDTalk:  The World After Midnight10:24 – COVID: The line in the sand between change and transformation12:50 – Why we respond rationally to a world that no longer exists16:08 – Change and transformation are as different as caterpillars and butterflies21:50 – Leading change: go where the fear is24:02 –JFK and Cortez: creating a vision for change25:40 – How leaders can persuade transformation, why logic isn’t as effective as we believe and why leading with fear isn’t sustainable in the long term32:30 – Why there is resistance to innovative new ideas and the power of self-persuasion37:54 – Why using fear to lead change isn’t faster in the long run39:20 – The key to complex transformation: go slow to go fast41:35 – Why QUBE helps organizations transform, not just change44:05 – What makes the world of QUBE inclusive and unique48:45 – Transformation isn’t just for small niche brands52:49 – Tips for people who want to lead transformation56:32 – The 5 futures in the post covid lifeLinksEddie on LinkedInPentacle Virtual Business SchoolGartner IT Symposium: PersuasionTED Talk: Smart failure for a fast changing worldTEDx: The future of work at the time of disruptionGoogle Zeitgeist: How are grown-ups going to learn?Eddie's books 

Designers are often seen as artists, or untamed creatives, who create incredible work out of thin air. But really, we love a good framework. And turns out, we love a good cinch too - and the Double Diamond process is our go-to for both! Join the co-hosts this week as we outline the first two stages in the Double Diamond, the Design Council's framework for innovation. Special thanks to @matt_beadnall for the music and to Alex for calling the Hotline Design Hotline this week. Don't forget you can always record a question for us at https://anchor.fm/hotlinedesignpod Find us on social media: Instagram: @hotlinedesignpod Twitter: @hotlinedesignpd --- Send in a voice message: https://anchor.fm/hotlinedesignpod/message

In addition to practicing community management as a profession, many of the listeners, guests, and even members of the team behind Community Signal, manage communities part-time. These might be communities that align with our personal passions or hobbies or communities that exist specifically to help ourselves and others grow. That is exactly the mission of Muslamic Makers. Co-founded by Arfah Farooq, who joins us for this episode, Muslamic Makers is a community of Muslim changemakers who work in the tech industry. This April marks the fifth birthday of Muslamic Makers and Arfah discusses how the community has grown during that time and how she sees it growing into the future. Muslamic Makers takes pride in offering thoughtful programming that is largely free to its community, and Arfah shares how she and her team are thoughtfully working to keep it that way. Tech companies want access to diverse communities when it comes to hiring and in exchange for sponsorship opportunities, the Muslamic Makers community offers them just that. Arfah also discusses the importance of documenting the processes that keep the community running, so that the community can continue running, whether she’s managing the day-to-day or not. It’s always refreshing to hear that the practices that keep our “professional” communities healthy and well-managed are the same practices that we should try applying to our own personal communities, too. Arfah and Patrick also discuss: Keeping a community independent, self-sustaining, and affordable to its members Adapting and enforcing your community’s Code of Conduct as you grow How the pandemic has helped the Muslamic Makers community grow beyond its roots in London This episode is the first that we’ve released since the devastating shooting that left eight people in Atlanta dead, including six Asian women. Their names were Daoyou Feng, Hyun Jung Grant, Soon Chung Park, Suncha Kim, Yong Ae Yue, and Xiaojie Tan. The other two people who were killed were Delaina Ashley Yaun and Paul Andre Michels. One man, Elcias R. Hernandez-Ortiz, was seriously injured. As a team, we’ve reflected on how our work in communities matters when it comes to stopping hate. As Patrick says in this episode, “when we educate ourselves about what anti-Asian hatred looks like and we take action against it, we are part of the solution.” Our Podcast is Made Possible By… If you enjoy our show, please know that it’s only possible with the generous support of our sponsor: Vanilla, a one-stop shop for online community. Big Quotes Growing Muslamic Makers into a self-sustaining community: “Where I think self-sustainability [for Muslamic Makers] comes from is sponsorships with tech companies because tech companies want access to diverse talent. They want to advertise to a diverse pool.” –@Arf_22 Our communities are bigger than our individual selves: “[When asking for money to sustain a community], speak from the heart, and let people know your intentions are right and you are just thinking about this community existing beyond yourself. [Muslamic Makers] is part of my legacy, but at the same time, especially in Islam as well, it’s the whole thing of, if I die tomorrow, this thing is going to carry on. It’s going to keep bringing goodness in the world.” –@Arf_22 How the pandemic helped the Muslamic Makers community grow beyond London: “Because we the founders were in London … [Muslamic Makers was] very London-centric. … The beauty of actually being forced online [because of the pandemic], in a sense, has meant that all our events are online, which has meant that we’ve had people dialing in from the other side of the world. That global community has definitely grown a lot.” –@Arf_22 About Arfah Farooq Arfah Farooq is a lifelong community builder, from shaping the regeneration of East London after the 2012 Olympics to building resilience in young people as a youth trustee for a charity. She accidentally co-founded a startup called Discoverables after an initial Design Council grant in 2012. This catapulted her into technology, which led her to co-found Muslamic Makers, a community for Muslims who upscale and pioneer tech in 2016. Arfah is a 2017 fellow of the Winston Churchill Memorial Trust and has been awarded a prestigious fellowship exploring Muslim women in technology in the USA, UAE, and Pakistan, where she vlogged her travels and brought back her expertise to help businesses. For her day job, Arfah works in government where she managed an internal community of 1,500-plus product and delivery managers across the UK government and now leads the No.10 Innovation Fellowship program. She is also an Angel investor in startups as part of the Aida Ventures Angels program to invest in underrepresented talent. Related Links Sponsor: Vanilla, a one-stop-shop for online community Arfah Farooq’s website Arfah on Twitter Discoverables Muslamic Makers No.10 Innovation Fellowship program Aida Ventures Angels program Celebrating five years of Muslamic Makers Creative Mornings Muslamic Makers 2016-2021 Impact Report Faisa Mohamed, co-founder of Somalis in Tech, joined us on Community Signal Transcript View transcript on our website Your Thoughts If you have any thoughts on this episode that you’d like to share, please leave me a comment, send me an email or a tweet. If you enjoy the show, we would be so grateful if you spread the word and supported Community Signal on Patreon.

Clive Grinyer is the Head of Service Design at the Royal College of Art in London. Clive's an acknowledged expert in service design, design thinking, and design and technology innovation, who has led award-winning design teams for companies around the globe. He started in design consultancy with IDEO in London and San Francisco before co-founding the design consultancy company Tangerine with Martin Derbyshire and future Apple design chief and RCA chancellor, Jony Ive. He went on to build and lead design teams for Orange, Samsung, and Cisco, and was Director of Service Design for Barclays. As Director of Design of the UK’s Design Council, he created the Design Demand program, taking design into over one thousand UK companies. As a consultant, he’s worked with the cabinet office policy lab and at Nesta. Clive speaks at national and international conferences, writes articles and blogs, and has published Smart Design, a book on design and technology.   Show Summary Clive discovered his interest in design at an early age, in part thanks to toys and dresses! His grandmother’s dress shop introduced him to the idea that there were actual people out there whose job was making decisions about what we would like and what would be trendy. That would lead him to art school. A conversation with a career advisor uncovered an affinity for product design, and that’s where Clive’s design path began: designing physical objects. He worked for several well-known design consultancies, including Moggridge Associates (founded by Bill Moggridge, who would go on to co-found IDEO), and then Clive chose to co-found a design consultancy himself before shifting gears away from consulting altogether and going in-house, taking a position with Samsung, where he helped open the company’s design office in Europe. After Samsung, Clive worked for a number of the world’s leading corporations, culminating in a position with Barclays bank, where he again shifted--this time from digital design to service design--setting up their service design team and working on customer experience. Clive recently left the corporate world behind, taking the Head of Service Design position at the RCA not long before the COVID-19 pandemic began. Today, we’ll talk about building service design teams, teaching service design and how the RCA service design department adapted its teaching and courses in response to the pandemic, and where Clive believes service design needs to take us in the future.   Listen in to learn more about: Clive’s path from product design to service design Building a service design team Service design at RCA The future of service design, post-pandemic Service design in Europe and the US How the impact of service design is often invisible Service design, design thinking, and innovation   Show Highlights [02:01] Clive talks about his design career path. [07:50] Moving from consulting to in-house. [09:54] Leaving the corporate world behind for the RCA. [10:41] Challenges Clive faced while building the service design team at Barclays. [13:02] Finding the right people for the team. [13:34] Design Council’s double diamond. [14:40] The Barclays team’s first project. [17:47] Culture change as a vital function of a service designer. [19:08] Taking people on a journey, and passing on the tools of design to others. [22:26] Teaching service design at the RCA in the midst of the pandemic. [23:02] Ramping up the use of digital tools and going online. [24:20] The success of RCA’s graduate virtual service design show. [25:54] Taking the lessons from the last year and using them going forward. [26:38] Clive talks about a successful project conducting user research online via TikTok. [27:30] Post-pandemic opportunities for service design. [27:40] Generation Regeneration. [27:56] “Never waste a crisis.” [30:23] How service design can help us make decisions to build the future we want. [31:51] Clive and Dawan talk about the state of service design in the U.S. [33:49] The focus of design thinking in the U.S. [34:04] The impact of service design in Europe. [35:23] Service design is fixing things. [36:42] The “invisible impact” of service design. [38:28] The role of service design and design thinking in innovation. [41:03] Clive offers advice to those wanting to try service design at their organization. [42:03] Thinking differently. [45:41] Clive talks about the two-year master’s at RCA. [48:16] More about RCA’s service design tutors. [51:41] The importance of storytelling to service design. [53:18] The big challenge Clive sees for service designers. [55:06] Where to find out more about Clive and his work.    Links Clive’s website Clive on LinkedIn Clive on Twitter Clive’s profile on the Royal College of Art website RCA Service Design Ageing Well: Designing a world accessible to all Creative Review’s Top 50 for 2018 Designing Our Futures Clive Grinyer on Service Design CLG Podcast: Public services are ahead of business when it comes to service design Unknown Origins podcast: Clive Grinyer on Service Design    Other Design Thinking 101 Episodes You Might Like Integrating Engineering, Design and Business with Tony Hu — DT101 E35 Teaching and Learning Service Design for Designers and Non-designers with Maurício Manhães — DT101 E34 Rethinking Service Design + Student Projects + Community Systems with Amy O’Keefe — DT101 E56 ________________ Thank you for listening to the show and looking at the show notes. Send your questions, suggestions, and guest ideas to Dawan and the Fluid Hive team. Cheers ~ Dawan Ready to learn new ways to think and solve like a designer today? Enroll in Framing: Creating Better Solutions by Finding More Valuable Problems to Solve — from Fluid Hive’s Design Thinking 101 Learning. Free Download — Design Driven Innovation: Avoid Innovation Traps with These 9 Steps Innovation Smart Start Webinar — Take your innovation projects from frantic to focused!

Clive Grinyer is the Head of Service Design at the Royal College of Art in London. Clive's an acknowledged expert in service design, design thinking, and design and technology innovation, who has led award-winning design teams for companies around the globe. He started in design consultancy with IDEO in London and San Francisco before co-founding the design consultancy company Tangerine with Martin Derbyshire and future Apple design chief and RCA chancellor, Jony Ive. He went on to build and lead design teams for Orange, Samsung, and Cisco, and was Director of Service Design for Barclays. As Director of Design of the UK's Design Council, he created the Design Demand program, taking design into over one thousand UK companies. As a consultant, he's worked with the cabinet office policy lab and at Nesta. Clive speaks at national and international conferences, writes articles and blogs, and has published Smart Design, a book on design and technology.   Show Summary Clive discovered his interest in design at an early age, in part thanks to toys and dresses! His grandmother's dress shop introduced him to the idea that there were actual people out there whose job was making decisions about what we would like and what would be trendy. That would lead him to art school. A conversation with a career advisor uncovered an affinity for product design, and that's where Clive's design path began: designing physical objects. He worked for several well-known design consultancies, including Moggridge Associates (founded by Bill Moggridge, who would go on to co-found IDEO), and then Clive chose to co-found a design consultancy himself before shifting gears away from consulting altogether and going in-house, taking a position with Samsung, where he helped open the company's design office in Europe. After Samsung, Clive worked for a number of the world's leading corporations, culminating in a position with Barclays bank, where he again shifted--this time from digital design to service design--setting up their service design team and working on customer experience. Clive recently left the corporate world behind, taking the Head of Service Design position at the RCA not long before the COVID-19 pandemic began. Today, we'll talk about building service design teams, teaching service design and how the RCA service design department adapted its teaching and courses in response to the pandemic, and where Clive believes service design needs to take us in the future.   Listen in to learn more about: Clive's path from product design to service design Building a service design team Service design at RCA The future of service design, post-pandemic Service design in Europe and the US How the impact of service design is often invisible Service design, design thinking, and innovation   Show Highlights [02:01] Clive talks about his design career path. [07:50] Moving from consulting to in-house. [09:54] Leaving the corporate world behind for the RCA. [10:41] Challenges Clive faced while building the service design team at Barclays. [13:02] Finding the right people for the team. [13:34] Design Council's double diamond. [14:40] The Barclays team's first project. [17:47] Culture change as a vital function of a service designer. [19:08] Taking people on a journey, and passing on the tools of design to others. [22:26] Teaching service design at the RCA in the midst of the pandemic. [23:02] Ramping up the use of digital tools and going online. [24:20] The success of RCA's graduate virtual service design show. [25:54] Taking the lessons from the last year and using them going forward. [26:38] Clive talks about a successful project conducting user research online via TikTok. [27:30] Post-pandemic opportunities for service design. [27:40] Generation Regeneration. [27:56] “Never waste a crisis.” [30:23] How service design can help us make decisions to build the future we want. [31:51] Clive and Dawan talk about the state of service design in the U.S. [33:49] The focus of design thinking in the U.S. [34:04] The impact of service design in Europe. [35:23] Service design is fixing things. [36:42] The “invisible impact” of service design. [38:28] The role of service design and design thinking in innovation. [41:03] Clive offers advice to those wanting to try service design at their organization. [42:03] Thinking differently. [45:41] Clive talks about the two-year master's at RCA. [48:16] More about RCA's service design tutors. [51:41] The importance of storytelling to service design. [53:18] The big challenge Clive sees for service designers. [55:06] Where to find out more about Clive and his work.    Links Clive's website Clive on LinkedIn Clive on Twitter Clive's profile on the Royal College of Art website RCA Service Design Ageing Well: Designing a world accessible to all Creative Review's Top 50 for 2018 Designing Our Futures Clive Grinyer on Service Design CLG Podcast: Public services are ahead of business when it comes to service design Unknown Origins podcast: Clive Grinyer on Service Design    Other Design Thinking 101 Episodes You Might Like Integrating Engineering, Design and Business with Tony Hu — DT101 E35 Teaching and Learning Service Design for Designers and Non-designers with Maurício Manhães — DT101 E34 Rethinking Service Design + Student Projects + Community Systems with Amy O'Keefe — DT101 E56 ________________ Thank you for listening to the show and looking at the show notes. Send your questions, suggestions, and guest ideas to Dawan and the Fluid Hive team. Cheers ~ Dawan Ready to learn new ways to think and solve like a designer today? Enroll in Framing: Creating Better Solutions by Finding More Valuable Problems to Solve — from Fluid Hive's Design Thinking 101 Learning. Free Download — Design Driven Innovation: Avoid Innovation Traps with These 9 Steps Innovation Smart Start Webinar — Take your innovation projects from frantic to focused!

Marketing and wine. Talk about two of my favorite subjects...in the same podcast episode. But we’re not just talking about any type of marketing, we’re talking about international marketing and why it’s foolish for marketers to assume what works in one country will work in another. In this episode, we chat with international marketing expert, Katarina Hakansson. She has more than 15 years of international marketing experience and previously worked at Taxback International, Design Council, University of Westminster, HBK Consulting, South Thames College, London College Wimbledon, and more. We’re talking about the definition of international marketing, why so many companies don’t really get what it means to market internationally, how you can gain experience in the subject, the importance of cultural differences, and so much more.

What you’ll learn in this episode: How John created Lacewing, his award-winning large-scale neckpiece The unexpected effects that winning an award can have on a jewelry artist’s career Why film can be a better medium than still photography to capture jewelry Why the key to artistic success is unlearning the limiting beliefs we learn in adulthood How the current climate may create opportunity for new growth About John Moore: With unbridled self-expression at its core, the work of multi-award-winning artist John Moore inhabits a nameless realm of possibility without frontiers. Currently represented by Elisabetta Cipriani Gallery in London and Charon Kransen in New York, he is a unique and evolving presence in the world of art jewellery. His distinctive creations have appeared at high profile fairs and exhibitions in the UK, Europe and the USA, including Masterpiece London, Design Miami, SOFA Chicago, MIART Milan, PAD Monaco and PAD London. Moore’s work has been recognized with a number of awards, most notably The Goldsmiths Company Award both in 2016 and 2019. Affectionately known as The Jewellery Oscar, it is ‘only given when, in the [Goldsmiths Craft and Design] Council’s judgement, an entry achieves the highest standard of creative design and originality.’ Commissioned by international collector Tuan Lee, renowned for her taste in statement pieces, his 2019 winning entry, Lacewing, is the latest in the Verto series. Made from sterling silver discs embellished with 48 diamonds set with 18ct gold, Lacewing takes precious jewellery into a new realm, commanding attention and challenging the notion of jewellery as an accessory. Additional resources: Website Instagram Video: A World Away Video: Lacewing Episode Transcript  

Design Thinking is a concept that's gained a lot of currency, but much of it outside L&D. How does it compare to design models often used in training design? What can it teach us for designing training? Why isn't it used more in L&D circles? We have answers to these questions and more, and as always, plenty of pratical tips. 00:22 Design Thinking: Science or Art? 02:49 Terry's three principles of Design Thinking 05:36 Design Thinking's relationship to process 08:12 The Design Council's Double Diamond 10:34 The five parts ('not steps!') of Design Thinking 12:49 Design Thinking as applied to bouldering problems 16:39 Feedback loops and evolution through Design Thinking 20:19 Case study: A long-running interview skills course 23:32 Case study: Creating a deck of cards as a design aid 24:48 Case Study: Designing for Digital Delivery course 25:40 A set of linked concepts 26:35 A conscious approach 27:14 Practical tips for empathising with your user 32:36 Problem definition and the 'How might we...?' question 34:20 Ideation using collaboration tools 35:37 Prototyping: better than a pilot 39:00 Testing your prototype 40:58 Design Thinking Resources 44:04 Summary 47:13 Sheridan's mini-topic: Using the right tools Resource Links Design Thinking for Educators: https://designthinkingforeducators.com/about-toolkit/ Design Thinking Playbook: https://medium.com/swlh/design-thinking-playbook-fab6dad7d2f7 Design Thinking for Social Innovation (including info on the Double Diamond and the 5 Elements): https://uxdesign.cc/design-thinking-an-enabler-for-social-innovation-a94ada5aa432 Contact the Hosts Our Facebook page: www.facebook.com/TrainingDesignPodcast Terry Pearce LinkedIn: www.linkedin.com/in/terrypaulpearce Sheridan Webb LinkedIn: www.linkedin.com/in/trainingdesigner The Training Designers' Club: www.trainingdesignersclub.co.uk Untold Play: www.untoldplay.com - For game-based learning and gamified learning consultancy and design 360 Learning Design: 360learningdesign.com - For bespoke, creative and personalised learning design Keystone Development: www.keystonedevelopment.co.uk - For bespoke learning and development programme design Power Hour: www.power-hour.co.uk - For ready written bite-size training materials

The ability to debate, to explore and to challenge has (some would say) been under immense pressure in these times. Today, I explore this with Nico Macdonald and how all of our role of society especially those in the creative industries can be more 't' shaped and diverse in consideration, thinking and action.[0 Min] How to access time with Matt on your project / sign up to the Daily Dose of inspiration[2 Mins]  An introduction to Nico Macdonald, Nico is a pioneer in innovation and entrepreneurship. He is a visiting fellow at the School of Arts and Creative Industries at London South Bank University, and teaches at the University of East London and CIEE (the Council on International Educational Exchange). In the early 90s built a digital media studio in Shoreditch, London; led digital design for The Guardian newspaper, and for the London office of Berlin-based MetaDesign; he co-founded the international consultancy business Ascendant Partners, and worked in Silicon Valley. Since, he has founded a media innovation startup, Media Futures; been Innovation Director of Creative England; and Chief Executive of the R&D Society, a professional membership organisation. For 30 years, he has forged strong links with industry contacts from established organisations as varied the BBC, the Design Council, the British Film Institute, Arup, and DigitasLBi, as well as a wide range of start-ups and SMEs in design, media and tech. He has also written extensively on creativity and digital innovation, including articles, papers and books.[3 Mins 30] Getting 'out of the bubble' and ensuring the ability to debate.[6 Mins] The limitations of the creative industries and diverse thinking.[8 Mins 30] Sustainability, and a ground where more success has been made?[10 Mins 30] Learning from journalism and following the facts Richard Saul Wurman's  CTA to 'listen'.[12 Mins 30] The ability to be exposed to others with different views.[14 Mins] The Internet = less the global village, more the place to reinforce our niche views via the 'filter bubble'[16 Mins] The Polemic Palace and Netflix.[18 Mins] Seeking more diverse arguments and looking for a healthy discourse. Seek that which you don't agree with.[19 Mins] Nuzzle, your social graph and aggregated varied points of view[20 Mins 30] Why no uncertainty in politics leads  us all to disbelief and distrust?[22 Mins 30] What can we learn from Andy Murray, Ed Balls and Michael Portillo?[23 Mins 30] What about  Jeremy Corbyn, Nigel Farage and Populism?[26 Mins] We are at the end of a political paradigm. Yes, it's uncomfortable.[30 Mins] The case of paradigm under-load.[35 Mins] Design Ethics, Microsoft to MIT and a convSupport the show (https://weareten.us12.list-manage.com/subscribe?u=4ed5154e0f1cdbad62b378156&id=dc1a8d24c1)

What if cities were designed as spaces for both people and wildlife to thrive? What if we thought like coots, ducks or peregrines? There Project invites you on an audio journey along the 200-year-old Regent's Canal. Taking a bird's eye view, it questions whether design can help us become more ecocentric. Listeners are taken on an atmospheric walk along Regent's Canal between Islington and Haggerston, guided by young conservationist Kabir Kaul and interspersed with interviews with designers, activists and thinkers including Thomas Thwaites, Studio Ossidiana, Climate Museum UK co-founder Bridget McKenzie, the Wildlife Gardeners of Haggerston, and Sabina Mohideen from the Design Council. It asks some poignant questions about the purpose of design in an age of breached planetary boundaries, whilst also providing a moment to take a deep breath and reconnect with our surroundings. You can tune in from anywhere in the world, but if you're in London, we encourage anyone who can to enjoy this audio journey on the canal - recommended starting point is at Islington Tunnel, walking east towards Kingsland Basin Nature Reserve (a leisurely 40mn walk). The audio journey was conceived by There Project, with sound design by Deborah Ridley, for London National Park City. There Project is a collaboration between design curators Justine Boussard and Sarah Turner, founded to grow the community of designers who use their skills and creativity to imagine regenerative futures. London National Park City is a place, a vision and a movement to improve life in London by making it greener, healthier and wilder.

After becoming part of Standards Australia approximately 25 years ago, the Australian Design Council will be re-established to kickstart Australia’s economy in a post-COVID-19 environment. Founder and CEO of Good Design Australia Dr Brandon Gien joins John Stanley to discuss the importance of what a rebooted Australian Design Council will mean for Australia. See omnystudio.com/policies/listener for privacy information.

Tommy Hilfiger has become the latest big label to embrace modest fashion, introducing a hijab to its clothing line. It comes at a time when cultural diversity and inclusivity is high on the social agenda. But it also makes good business sense. Let's get more on this now with Alia Khan in London. She's chairwoman of Islamic Fashion and Design Council.

Tommy Hilfiger has become the latest big label to embrace modest fashion, introducing a hijab to its clothing line. It comes at a time when cultural diversity and inclusivity is high on the social agenda. But it also makes good business sense. Let's get more on this now with Alia Khan in London. She's chairwoman of Islamic Fashion and Design Council. #Ebikes #PublicTransport #SocialDistancing

Join me and my special guest Richard Hall, founder of Pd-m International Limited, an innovation, product design and manufacturing consultancy. We discuss the success factors of getting a product from concept to commercialisation or use in practice. Richard shares his definition of innovation and the different levels and types of innovation, from incremental to disruptive. Richard and I both use design thinking in our workshops, and we explore what it is and how we use it. Richard gives the example of how he has used design thinking to create medical innovations for surgeons. Richard gives us his six trigger points for establishing a successful innovation, innovation process and the 'fog of uncertainty' and how innovation in the beginning can be like the flight of a bumblebee! Also why the process of co-design with customers is so important and how he has continued to do that through Covid-19 using online platforms. I share why designing the "fog of uncertainty"- sometimes also known as the "groan zone" in innovation sprints and workshops is important. Finally we discuss approaches and techniques that can be used in workshops and innovation more generally to achieve success, and different mindsets to challenge thinking - including asking "so wot?", "wot now?" and then "wot next?". Richard also shares how he has pivoted his business to manufacture face shields that carry the CE mark. He plans to continue innovating and growing the business. Thank you Richard for a great conversation, I'm sure you and the team will go from strength to strength. Here is the Design Council reference we talked about for the Innovation Process : https://www.designcouncil.org.uk/news-opinion/what-framework-innovation-design-councils-evolved-double-diamond. To join me free private facebook group for facilitators, Idea Time for Workshop Facilitators, use this link here. For Force Field Analysis, Risk Register and Reverse Brain Storming workshop templates for delegates, please email me at jo@bigbangpartnership.co.uk and I will send them across to you. Richard's bio: Richard started his career aged 16 in 1986 as an Engineering Apprentice at Rolls-Royce Plc. After four years of training Richard was posted to the Engineering Drawing Office at the Derby fan blade facility. After studying part-time night class whilst working Richard then studied BA (Hons) Industrial Design full time. On graduating in 1994 Richard worked for 11 years in industry in the UK, Eastern Europe, the US and China. In 2005 Richard founded Pd-m International Limited, an innovation, product design and manufacturing consultancy. In addition to running the business Richard has been the lead mentor for the Design Council spark innovation fund, a visiting tutor at the Royal College of Art and Leeds Becket University. Richard currently consults for Innovate UK and is studying a Masters Degree part time in Senior Leadership at The University of Leeds Business School. In 2018 Richard was awarded Fellowship at the Royal Society for the encouragement of Art, Manufactures and Commerce. To find out more about Richard or get in touch with him you can find him here: Instagram @pdm_productdesign Linked In here https://www.linkedin.com/in/richard-hall-pd-m/  Web site www.pd-m.com

Daniel Scrivner… he's a true DREAM THINK DOer.  He's a self-taught designer who got his start freelancing and eventually joined DDB - an advertising firm in Venice Beach.  Then… he moved to San Francisco and joined Apple's Marketing Communications team… where he got to work on several landmark product launches and projects.  In 2011, Daniel left Apple and joined the small team at Square.  He went on to become Square's Director of Design… where he grew his team from 5 to 40… and his team touched almost every aspect of Square's design.  During that same time, Square went public… and was valued at over $3.6 billion.  In 2016, Daniel left Square and founded Blackletter Ventures… and has become an investor in more than 30 companies.  Daniel has also become a trusted advisor to brands like Nike, Disney… and he speaks on design and entrepreneurship around the world.  Which brings us to what he's up to now.    RESOURCES: Daniel's website: www.danielscrivner.com Investments: www.blackletter.com  Daniels new Podcast: Outliers: www.outliers.fm/ Daniel references the book, “HOW WILL YOU MEASURE YOUR LIFE” by Clayton Christensen.  Here's an article in the HBR about the story behind it.  FLOW: Daniel wants to give DREAM THINK DOers would like to give 25% off their first year with Flow. You can sign up for free at www.getflow.com and use promo code "DREAMTHINKDO" when you subscribe. BONUS INTERVIEW: Daniel and I extended our conversation to talk about leadership and life!  Check out this bonus interview for some pure gold insights on stretching yourself, continuing to innovate and living life to the fullest!  ADDITIONAL INFO ABOUT Daniel Scrivner EPISODE: Characterized by his refined aesthetic and ability to work at the highest level across mediums, Daniel is recognized as a leader in his field.  Get this… his client roster includes organizations like Apple, Square, Nike, Disney, and Target, and his accolades include a D&AD Black Pencil for Apple.com, a nomination to Kleiner Perkin's Design Council under John Maeda, and several "Best Of" awards in both Apple's App Store and Google's Play Store. As you'll hear in our interview, Daniel is a self-taught designer, who's worked his way up to now being CEO of Flow.   Daniel has been invited to speak at some of the world's most innovative organizations, including Andreessen Horowitz, General Assembly, Designer Fund, and 500 Startups.  A California native, Daniel now lives on five acres up in the foothills of Boulder, Colorado with his bride, Bre, and their dog, Sunny.  With clients and investments across the US, he spends most of the time in Colorado, with many trips to California and New York when it's safe to do so! MINUTE BY MINUTE SHOW NOTES: 0:02 What to expect today 1:25 Get to know Daniel 4:09 Conversation starts 4:56 How David got into design 12:28 The correct way to think about self education 15:08 Daniel's journey from designer to CEO 18:02 Give yourself permission to go all-in 20:05 Put in the work to create better opportunities 21:17 The one thing Mitch wants to know 26:06 Know yourself 27:26 Recognize your weakness in a healthy way 31:09 Mitch's biggest takeaways 31:11 How to see bonus footage   I WANT TO HEAR FROM YOU! What do you think?  What stood out to you from this convo with Daniel? I have to say I love his devotion to continually learning.  That core belief has allowed him to push through and have some AMAZING experiences.  Apple. Square.  Now… FLOW.  Pretty dang cool!  Plus, that devotion keeps him stretching and achieving at new levels.  Love that.   What did you dig?  What did it stir up? I want to hear from YOU!  Comment here or you can connect up with me on Facebook or Instagram and let me know.   I can't wait to hear YOUR thoughts! #letsdothis #bestyearyet For more podcasts click here

This week we’re joined by Banita Mistry the founder of @Jewellers_of_Colour an Instagram community connecting Black, Asian and Ethnic Minority Jewellers to share stories, resources and opportunities. This year there has been a real awakening about what is going on in the world and how we can move towards more positive change. I talk with Banita about the jewellery industry specifically and how we can move toward a better, more integrated future.     EPISODE RECAP   For anyone who doesn’t know you or the Jewellers Of Colour Instagram account, can you tell us a little about your background? (2:25) Can you tell us a little about your experience and what it has been like? (8:47) What you’re saying makes me think about the importance of role models - we see women in business, moms doing things. But how many ethnic or Indian or black jewellers are represented? Do you feel like that had an impact on you? (13:12) It’s hard enough to do your own thing, start your own business, put yourself out there. It seems like it’s compounded if there are comments or an underlying structure that makes you feel like you can’t do it. Would you agree? (16:13) That brings us to the idea of a ‘pro-active response’. What can people do that would help to move things forward and make this something that brings about real change? (19:21) There are things even small businesses can do, and it’s nice to know everyone can contribute (23:04) What are the goals of the Jewellers Of Color Instagram account? (26:08) I saw something come up on your account that was a picture of fine jewellery and you asked - if jewellery wasn’t a primary white industry, would this be what jewellery looked like today? (28:37) For me, this has opened my mind to a lot of things and made me think about the industry in a different way. Is there anything else you’d like to cover? (31:30)     RESOURCES Jewellers Of Colour Instagram Jewellers of Colour newsletter Goldsmiths Craft and Design Council

The Female Design Council is an action-oriented leadership organization dedicated to providing a strong professional community for female and female-identified persons in the design industry. Listen as founder, Lora Appleton talks about her experience in the design industry and the ways she's working to feature talented women designers.

Paul Finch is Programme Director of the World Architecture Festival (WAF) and Editorial Director of The Architectural Review/Architects' Journal. He started professional life as a journalist in the early 1970s. He became Deputy Editor of Estates Times (now Property Week), and subsequently edited Building Design, Architects' Journal and Architectural Review, where he launched WAF in 2008. He has been co-editor of Planning in London since 1994. He was a founder commissioner at CABE (Commission for Architecture & the Built Environment) in 1999, chaired its design review and regional panels, subsequently chairing its London Olympics design panel from 2005 to 2012. He became chair in 2010, overseeing its merger in 2011 with the Design Council, where he was deputy chair for three years. He holds an honorary doctorate from the University of Westminster and honorary fellowships from University College London and the Royal Institute of British Architects .He is an honorary member of the British Council for Offices and the Architectural Association. He was awarded an OBE for services to architecture in 2002.

This Circular Life is a new podcast that spends time talking about subjects and to people with ethical, environmental change and social impact at their core. Join me, Melissa Bowden, for interesting conversations highlighting people who are making a positive impact on our planet and the people in it. Episode 1 is an interview with Gyorgyi Galik, a London based innovation designer, design strategist and environmental advocate. She is currently finishing her PhD in Innovation Design Engineering from The School of Design at The Royal College of Art, London and is the Lead Advisor of the Cities Programme at the Design Council in London. She joins me to discuss what makes her world go round, her inner & wider circles and the social and economic impact of sustainable change as well as so much more. Huge thanks to Gyorgyi for sharing her time and insights as well as parts of her personal journey. It was a real pleasure to talk to her and learn from her. Further references from our discussion can be found below: 1) The Politics of Invisibility: Public Knowledge about Radiation Health Effects, a book by Olga Kuchinskaya: 2) Climate Lecture by Professor Kevin Anderson https://www.youtube.com/watch?v=jt5bobk5wpQWebsite of Professor Kevin Anderson http://kevinanderson.info/blog/home-2/3) Chancel, Lucas & Piketty, Thomas (2015). Carbon and inequality: from Kyoto to Parishttp://piketty.pse.ens.fr/files/ChancelPiketty2015.pdf4) Oswald, Yannick & Owen, Anne & Steinberger, Julia. (2020). Large inequality in international and intranational energy footprints between income groups and across consumption categories. Nature Energy. 5. 231–239(2020) https://www.nature.com/articles/s41560-020-0579-8#citeas5) Design Council: https://www.designcouncil.org.uk/6) Innovation Design Engineering, School of Design, Royal College of Art: https://www.rca.ac.uk/schools/school-of-design/innovation-design-engineering/7) Gyorgyi GalikLinkedIn: https://www.linkedin.com/in/gyorgyi-galik-79a63b49/Twitter: https://twitter.com/GyGalikMedium: https://medium.com/@GyorgyiGalikWebsite: http://gyorgyigalik.com/

A Highlights of Hungary Special #6 epizódjának témája a jövőálló terek. Mit hoznak ezek a hetek-hónapok és újragondolások az építészetben, a terek tervezésében? Hogyan változik a terekhez való viszonyunk? A házibulik reneszánszát fogjuk élni, vagy kiéhezve az ingerekre, visszatérünk a korábban megszokott életterekbe, kikapcsolódási formákra? Beszélgetőtársaink ezúttal Dr. Gálik Györgyi, a londoni Design Council vezető tanácsadója, Martinkó József, az Octogon Magazin főszerkesztője és Őrfi József, építész.

This is the third episode of the (Re)Design Your Life series which will explore how the lives of individuals across the globe are getting on, how their lives have changed, what their coping mechanisms are and insights into what the future holds for us. In this episode, Vince chats with good friend Jonathan Ellery about how his career as an internationally acclaimed designer, new work process innovator, artist and publisher has prepared him for the events surrounding COVID-19. Founded some twenty years ago the independent design studio, Browns, has continually received accolades and world-wide recognition to their name with featured clients including FIFA, Channel 4, Design Council and BAFTA. In 2005 the publishing arm, Browns Editions, was formed from a fascination with the materiality of books, manifesting with an on-going series of collectible artist publications. In addition to this Ellery began his own multi-faceted art journey.  Ellery's method of thinking is focused on (re)defining a new work process, one that is immersed in freedom as opposed to being driven by a finite selection of known working parts. This considered approach has aroused attention in the art, design and publishing industries, specifically in Japan, where the distinction between such fixed categories has long been disregarded. Where will this lead us? How can this approach be used to (re)design a different future?   Browns Design London  Browns Editions  Jonathan Ellery  Under One Roof Design Your Life See omnystudio.com/listener for privacy information.

Design Thinking Roundtable returns with its third season —Designing for the Public to investigate the meaning of Human-Centered Design in the public sector. Public sector fundamentally pertains to and involves people: Without people, the “public” does not exist, nor does the government. We discuss, debate and question the past, present and future of design thinking in the public sector. In the first episode, our host, Priyanka Vora sat down with design experts working with and in the government to discuss why human-centered design matters for developing and implementing policies that create positive social impact. Here's who we interviewed in the order they appear on the show: Arianne Miller, Managing Director of the Lab at OPM (Office of Personnel Management) Cat Drew, Chief Design Officer. Design Council, an independent charity that advises the UK government on design. Mari Nakano, Design Director, Service Design Studio at the New York City Mayor's Office for Economic Opportunity Jocelyn Bailey, Strategic and social design practitioner, critic and researcher based in London. ********* Credits: Production, host: Priyanka Vora; Conception: Anne-Laure Fayard; Sound design, music & post-production: Guilhem Tamisier. ********* To learn more about the New York University's Design for America, visit www.dfanyu.com and follow us at twitter.com/DFANYU. You can email us at nyu@designforamerica.com and mention the podcast in the subject line. Acknowledgment: Thank you to NYU Tandon's Department of Technology Management and Innovation and Design Lab @ NYU MakerSpace for their support. [ https://engineering.nyu.edu/academics/departments/technology-management-and-innovation] [http://makerspace.engineering.nyu.edu/designlab/]

Design and Innovation Podcast Hosts talk about the change in the business world as design is welcomed increasingly across companies. They also touch on what business leaders can expect in the future as more and more companies understand design's value to business and incorporate it into their culture and operations.Notes5:12 Design Council https://bit.ly/34QUDbU5:30 Mckinsey value of design https://player.vimeo.com/video/297150320Connect:Please subscribe and like our Podcast. Also, share with people you think will gain from this Podcast www.designandinnovation.dodo.ng Write to us dip@dodo.ng Follow us on Twitter: @DODO_Nigeria

The Art and Design unit Portfolio Review Day is an opportunity for students from across the art and design programs at HCC to present their work for review by art and design faculty and area arts professionals. The event is sponsored by the Art and Design Council.The Art and Design unit at HCC consists of seven instructional programs, Fashion Design, Fashion Merchandising, Interior Design, Digital Communication, Digital Gaming and Simulation, Filmmaking and Studio Art, that are accredited by the National Association of Schools of Art and Design.This prestigious accreditation ensures the Art and Design programs at HCC conform to or exceed nationally accepted standards of art and design education.HCC is the only NASAD accredited institution in Houston and one of only three NASAD accredited community colleges in Texas.

Tish Mills Kirk is known for creating highly personalized spaces with a curated over time feel. As one client said, “Her spaces are always a tranquil feast for the senses. You know the homeowner by the interiors.” While the firm has worked throughout the country over the past 20 years, Tish has also completed projects in China and Africa. She has also participated in numerous designer show houses throughout the United States.The firm has been recognized with 24 ASID Design Excellence Awards and three National ASIDs. Tish is also a founding member of the Design Leadership Network and Leaders of Design Council. https://www.harmoniousliving.net/http://www.facebook.com/907395013http://instagram.com/tishmillsFor photos on this and our other podcast episodes, visit Candelaria Design Associate's Podcast page: https://www.candelariadesign.com/inspiring-living-podcast

Thursday 29th November saw the fifth in our Kellogg Urban Knowledge Exchange series of multidisciplinary seminars, Healthy Cities: 'Is designing healthy communities the right response to an overstretched NHS?' We asked leading voices in the field to share their knowledge, research and pitch their views on the subject. The next seminar “Urban Planning” is on Wednesday 16th January 2019. With Carl Heneghan, Primary Healthcare Danny McDonnell, NHS England, Sian Whyte, Design Council, Chris Naylor, The King’s Fund.

Design Council CEO Sarah Weir took to the stage accompanied by three other women for her speech at the launch of this year's WISE100 list. We spoke to her afterwards to find out why. P.S. This video is brought to you by the team at Pioneers Post – a social enterprise set up to deliver great journalism to support social entrepreneurs, impact investors and mission-driven businesses. Good journalism like this costs money, and we rely on subscriptions in order to keep delivering the social enterprise news. We’d love you to support us – have a look on our website: www.pioneerspost.com/subscribe.

In the first Justyna Green podcast episode I speak to Sarah Weir, the CEO of the Design Council about the main challenges she's been facing since joining the council 18 months ago. We discuss the latest Design Economy Report and the design industry's contribution to the British economy. We also touch on diversity and inclusivity within the design industry itself, and Sarah discusses the key projects she's working on which include the new diversity campaign launching this month.   Presented by Justyna Green Music by James Green  

Nick Skeens is a freelance journalist who lives on a barge that he helped build in Burnham-on-Crouch in Essex, UK. He is an author who started writing about creativity for the UK’s Design Council covering subjects ranging from design education to creative thinking. He is the co-author of Future Present, Creative Island, and Creative Island II, books that celebrated British design genius by focusing on the creative process. His latest book, The Perfect Car, by EVRO Publishing, is a biography of the incredible John Barnard, who revolutionized motorsport across the world. Barnard introduced aerospace technology to the sport and designed game-changing innovations such as the first use of the carbon-fiber monocoque chassis with McLaren, and the paddle-shifted, semi-automatic gearbox with Ferrari. Nick’s past includes time as a news editor and producer in television. 

Modest fashion is a trending topic not only in the region but everywhere. Today we will speak about modest fashion with Alia Khan, president, and founder of IFDC which stands for Islamic Fashion & Design Council. She is also going to share her journey creating the council and how they are helping designers and other […] The post DFN PODCAST WITH ALIA KHAN ABOUT MODEST FASHION AND HOW IFDC OPERATES appeared first on Dubai Fashion News.

Modest fashion is a trending topic not only in the region but everywhere. Today we will speak about modest fashion with Alia Khan, president, and founder of IFDC which stands for Islamic Fashion & Design Council. She is also going to share her journey creating the council and how they are helping designers and other […] The post DFN PODCAST WITH ALIA KHAN ABOUT MODEST FASHION AND HOW IFDC OPERATES appeared first on Dubai Fashion News.

After a brief hiatus, OnDesign returns. We have lots of exciting guests lined up for our second season – including Dan Germain, Head of Brand at innocent. In this episode we speak to the venerable John Mathers. There are very few people with more design industry experience than John. He’s previously held the role of CEO at Brand Union and the Design Council, and most recently launched British Design Fund.

A study by The Design Council found that companies who emphasize design in their business dealings perform 200 percent better on the Stock Exchange than those who don't. Design isn't just about graphics and colors; it's in the aesthetics of a space. Danae Dougherty speaks from her background in designing spaces that create environments for real connection. She reflects on why beauty and design matter, and why it is so important to use design to foster relationships.

If you run a small business attracting new customers can be hard work, we have an alternative approach. We speak to The Design Council who can help if you have a great idea for a product but are struggling to get the right design. Who doesn't get apprehensive about standing up in front of a group of people to give an important talk? We discover that sales managers and CEOs are turning to The Design Counci to overcome their problem. Getting distracted by emails at work is crippling productivity but short of switching it off what can be done about it? We uncover some new innovative technology. And, we reveal that rooms with high-ceilings have been found better for creative brain-storming, plus other insights. Join Alan Coote and Josh Alex on this week's Let's Talk Business at schedule time on Radio Monogram Media.

Mat Hunter, Managing Director of the Central Research Laboratory, talked to Marek Pawlowski, founder of MEX, about the manufacturing heritage of CRL’s unique startup acceleration facility and his plans for a design-led hardware renaissance in the UK. The CRL resides in the Shipping Building on the old EMI site, where the evocative slogan ‘His Master’s Voice’ is emblazoned in huge letters across the exterior, recalling the history of a location closely associated with British industry and creativity. Today the Central Research Laboratory is an accelerator of digital and manufacturing innovation, helping a new generation of hardware companies achieve industrial scale. Mat took on the role in 2016, after a career which has included time as a partner at IDEO, Chief Designer Officer for the Design Council and lecturing at the Royal College of Art and Imperial College. (Updated, Sunday, 18th December to correct audio issues) Shows notes with links to everything discussed & bonus photos from visiting the Central Research Laboratory: http://www.mobileuserexperience.com/?p=4139 Contact: T: https://twitter.com/mexfeed/ E: designtalk@mobileuserexperience.com

In this episode we speak with Chris Sherwin. A trained designer with a PHD in sustainable design, Chris has been working in the sustainability field for 15 years, holding previous positions in Electrolux, Philips, Forum for the Future, and most recently Dragon Rouge where he held the position of Sustainability Consultant for the last four years. Sherwin specialises in sustainability innovation, design, brand marketing and strategy, with previous experience working on sustainability projects with Unilever, P&G, Mars, Akzo Nobel, ebay, BASF, PepsiCo, O2, Tata Beverage Group, Sony Ericsson, SCA, Design Council, Boots, Technology Strategy Board, and many others. 21st Century Design is a research podcast by Engage by Design (Rodrigo Bautista) and Regenerative Design (Jan Leyssens), in which we ask designers, tech-experts, writers, theorists, academics, activists and campaigners 5 questions on the future and role of design in creating the 21st Century. Subscribe for the podcast through iTunes or Soundcloud, or look us up on our home on the web www.21stcenturydesign.org. - Music: www.bensound.com

Alex Fleetwood is the founder and director of Hide&Seek, a game design studio dedicated to inventing new kinds of play. Hide&Seek started life in 2007 as a festival of social games and playful experiences on London’s South Bank, and built into a studio occupied a unique position in the UK, creating innovative games, installations and events with organisations including Film4, the Cultural Olympiad, Tate Modern, Warner Bros, Gâité Lyrique, Nike, Sony, the Royal Opera House and Kensington Palace. Anab Jain was born and educated in India (NID), with an MA in Interaction Design from the Royal College of Art, and founded Superflux in 2009, leading the Consultancy’s client partnerships whilst balancing the Lab’s self-initiated conceptual projects. She has lead multidisciplinary design, strategy and foresight projects for businesses, think-tanks and research organisations such as Sony, BBC, Nokia, NHS, Design Council, Forum for the Future, Qatar Foundation and Govt. of UAE. Honoured as a TED Fellow, she is the... See acast.com/privacy for privacy and opt-out information.

Taking maker start-ups to market A debate looking at the opportunities and challenges facing micro manufacturers, and whether there is any truth to the widespread belief that it is becoming more viable to run a maker business in the UK. Panellists: Fi Scott founder of MakeWorks; Laurence Kemball-Cook, founder and chief executive of Pavegen; Ande Gregson, co-founder Fab Lab London and creative technologist; Roland Ellis, designer. Chair: Haidee Bell, Head of Design Programmes, Design Council

Peter Loughrey is an established curator, trusted consultant, and a well-recognized expert in Modern Design & Fine Art. He is a prominent figure in the Los Angeles Modern Art & Design community through his involvement at LACMA as a member of the Decorative Arts and Design Council and Contemporary Friends, as well as his contributions to Taschen books. Not only is he a repeat appraiser on PBS’s “Antiques Roadshow”, but he has also been featured on Forbes’ “Sold!” on Ovation TV. Peter co-curated many Los Angeles gallery shows, including “Gio Ponti: Furnished Settings & Figuration” (2004) and “Dutch Design” (2005), both at ACME Gallery, in addition to co-curating and publishing a catalog for “Gaetano Pesce: Pieces from a Larger Puzzle” at Los Angeles’ Italian Cultural Institute (2010). He has also written numerous articles and was a contributor in the books Case Study Houses (Taschen 2003), Julius Shulman Modernism Rediscovered (Taschen 2007), and Collecting Design (Taschen 2010). He was named one of the 50 most powerful dealers in the Art + Auction “Power Issue” for two consecutive years.

According to The Design Council, six 8-studded Lego blocks can be put into over 900 million different combinations.  The core of the issue is this:  when you tell most people to 'be creative' on demand, they'll freeze. When you give them 3 crayons, 6 legos, or 17 syllables, they'll make something interesting.   They'll learn, they'll think deeply, they'll get creative.This concept has been employed by playwrights, computer programers, architects, and CEOs.  It's worth looking at in detail. One feature of my work that I'm going to explore more is the concept of 'creative constraints'.  It's been a big but unspoken part of a lot of work that I do, including the six sounds project.  In the six sounds projects, participants get a short tutorial on audio editing, and then have to create a one minute story using six sounds (phone ring, engine, heart beat, match strike, splash, crickets). It's been a popular activity for ISTE, NJAET, and classrooms around the world.  I've heard comedies, dramas, sci-fi..and quite a few camping stories.  This goal of this isn't just to teach audio editing--but the power or remix, the power of people to take the same group of items and synthesize them into new kinds of creative blends.I've experienced this myself and used it in my teaching. However, I've only recently focused on the research behind this phenomenon--'creative constraints'The concept of creative constraints is that creativity and innovation are fostered not by complete freedom but by limits.In my research on creative constraints I've come across examples from poetry (Lehrer, 2011), computer engineering (Mayer), management, architecture (Sturt, 2013), and improvisational comedy (May, 2013).  It's also one of the fundamental principles of game design (see Salen and Zimmerman's seminal work The Rules of Play--the title tells the story).  Any time a concept is useful to playwrights, computer programmers, and CEOs, it should be taken note of.When people work within restrictions, they test boundaries, challenge assumptions, and innovate with a set of resources. One recent example of this in my work was when I was with a group of English teachers in Massachusetts.  They were struggling with teaching The Odyssey.  Kids were frustrated with the language and lost with the plot.  The textbook's emphasis on the historic background was not helping matters.   So, we brainstormed on the 'big ideas' of The Odyssey.   What ideas, language, knowledge and skills do you want kids to have from this?   We came up with the concept of a hero's exciting and serendipitous journey and the use, beauty and power of epic similes (similes and metaphor are some of the original remixes, IMHO).  We came up with the recipe for the 3-Minute Epic.The 3-Minute Epic employs filmmaking, remix, and creative constraints to engage students in these ‘big ideas’ of epic poetry.***********In the Three-Minute Epic students must create an adventure story with a set of ‘items’—particular images, sounds, and epic similes from The Odyssey. This can be a model for working with other literature or history topics.  They can use a variety of technology--from PowerPoint, Photostory, iMovie, or Final Cut Pro. However, sophisticated editing and technical skills are not one of our goals, so I would keep this as simple as possible (hint, PowerPoint).For Students:For this project you will create a three-minute digital story using existing language and media. It should be an adventure of a 'hero'. It is up to you to determine, and eventually explain, what is adventurous and heroic about your story.Your final project should have images, narration, and sound effects; music is optional.In your story, you need to use the following similes from the Odyssey. ( What kinds of experiences can these descriptions apply to?):...like some animal surrounded, dreading the gangs of hunters closing their cunning ring around him for the finish......like some lion of the wilderness that stalks about exulting in his strength and defying both wind and rain; his eyes glare as he prowls in quest of oxen, sheep, or deer, for he is famished, and will dare break even into a well fenced homestead......like an octopus, when you drag one from his chamber, comes up with suckers full of tiny stones......like a judge at the end of a day at court, who’s settled the countless suits of brash young claimants, rises, the day’s work done, and turns home for supper...You need to use the following images in your story:Boathttp://www.dragonflyranch.com/images/indexpicts/Boat-sunset.jpgStriking a Matchhttp://www.bushwhacker.ca/match.jpgYou need to use the following sound effects in your story:Beating Hearthttps://drive.google.com/file/d/0B8tss6YIo6YvNTU5YTM1YjktYzA0OC00MmI1LTkzN2MtNTc1ZjM1YmI1NGZh/edit?usp=sharingChirping Cricketshttps://drive.google.com/file/d/0B8tss6YIo6YvN2M5Nzc1MzEtYWU2Ny00YTljLTk4MWMtODQ1MzdkZDFlMmQx/edit?usp=sharingRulesIt must be between 2 and 3 minutesThere has to be a story with a beginning, plot, and conclusion (extra credit for starting "In Medias Res")You can cross genres and mix your epic with true life, drama, modern, comedy, detective, romance, action, fantasy, horror, scifi; the setting can be contemporary, historic, fantastic, etc.No profanity or use of personal informationIt can have characters and a narrator, just characters, or just a narrator.You can add images, sound effects, and narration, but you must use the quotes and media aboveYou can get pictures from the Web or use original images (e.g. a close up of a group member as the hero/villain)AssessmentStory is between 2-3 minutes (pass/fail)25% Plot Elements--story is entertaining and coherent with an engaging beginning, action throughout, and a clear conclusion.25% Mix--narration and media elements complement each other; audio is clear and read with appropriate tone20% Required Elements--all required media and quotes are used appropriately to tell a story; similes compare different things20% New Elements--new images, sound effects and music advance the story10% Hero and Adventure--each member of the group can explain why the main character is a hero and why the story is an adventure (odyssey, epic, etc.)References on Creative ContraintsLenrer, J. (2013) Need to create: Get a constraint. From Wired Magazine Online, retrieved November 23, 20013 from http://www.wired.com/wiredscience/2011/11/need-to-create-get-a-constraint/May, M. (2013). How intelligent restraints drive creativity. From Harvard Business Review Blog Network, retrieved November 24, 2013 from http://blogs.hbr.org/2013/01/how-intelligent-constraints-dr/Meyer, M. A. (2006). Creativity loves constraints. From Business Week Online, retrieved November 29, 2013 from http://www.businessweek.com/stories/2006-02-12/creativity-loves-constraints Sturt, D. (2013). Creativity: How constraints drive genius. From Forbes Online, retrieved November 24, 2013 from http://www.forbes.com/sites/groupthink/2013/07/12/creativity-how-constraints-drive-genius/

Designing for social interaction is hard. People are unpredictable, consistency is a mixed blessing, and co-creation with your users requires a dizzying flirtation with loss of control. Christian will present the dos and don’ts of social web design using a sampling of interaction patterns, design principles and best practices to help you improve the design of your digital social environments. Christian Crumlish has been participating in, analyzing, designing, and drawing social interactive spaces online since 1994. These days he is the curator of Yahoo!’s pattern library, a design evangelist with the Yahoo! Developer Network, and a member of Yahoo!’s Design Council. He is the author of the bestselling The Internet for Busy People, and The Power of Many, and is currently working on an upcoming book, Designing Social Interfaces, with Erin Malone. He has spoken about social patterns at BarCamp Block, BayCHI, South by Southwest, the IA Summit, Ignite, and Web 2.0 Expo. Christian has a bachelor’s degree in philosophy from Princeton. He lives in Oakland with his wife Briggs, his cat Fraidy, and his electric ukulele, Evangeline. Licensed as Creative Commons Attribution-Share Alike 3.0 (http://creativecommons.org/licenses/by-sa/3.0/).

This week Sue Lawley's castaway is Professor Sir Christopher Frayling the Rector of the Royal College of Art and a champion of popular culture. He was born into an affluent family living in London. His father, Major Arthur Frayling, was a successful furrier, and his mother was fascinated by the arts and cars - she won the RAC Rally in 1952. At six he was sent to boarding school, which he hated, and it was there that he developed his life long love of film acting and design. He studied history at Cambridge and did a doctorate on Jean Jacques Rosseau and the French Revolution. He fought his father's ambitions for him to enter advertising and chose an academic career path, becoming a lecturer at the Universities of Exeter and Bath in the 1970s. At that time he worked on the programme The World at War and he's since become an accomplished broadcaster known for his work on Radio 4. He won an award at the New York Film and Television Festival for a six-part Channel 4 series about advertising called The Art of Persuasion. He's published 13 books to date with an eclectic range of titles from spaghetti westerns to The Face of Tutankhamun and Clint Eastwood - a critical biography. As well as being Rector of the Royal College of Art, Sir Christopher is also the longest serving Trustee of the Victoria and Albert Museum and is Chairman of the Design Council. [Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Il Triello by Ennio Morricone Book: Don Quixote by Miguel de Cervantes Luxury: V & A Museum

This week Sue Lawley's castaway is Professor Sir Christopher Frayling the Rector of the Royal College of Art and a champion of popular culture. He was born into an affluent family living in London. His father, Major Arthur Frayling, was a successful furrier, and his mother was fascinated by the arts and cars - she won the RAC Rally in 1952. At six he was sent to boarding school, which he hated, and it was there that he developed his life long love of film acting and design. He studied history at Cambridge and did a doctorate on Jean Jacques Rosseau and the French Revolution. He fought his father's ambitions for him to enter advertising and chose an academic career path, becoming a lecturer at the Universities of Exeter and Bath in the 1970s. At that time he worked on the programme The World at War and he's since become an accomplished broadcaster known for his work on Radio 4. He won an award at the New York Film and Television Festival for a six-part Channel 4 series about advertising called The Art of Persuasion. He's published 13 books to date with an eclectic range of titles from spaghetti westerns to The Face of Tutankhamun and Clint Eastwood - a critical biography. As well as being Rector of the Royal College of Art, Sir Christopher is also the longest serving Trustee of the Victoria and Albert Museum and is Chairman of the Design Council. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Il Triello by Ennio Morricone Book: Don Quixote by Miguel de Cervantes Luxury: V & A Museum