Linknote — — 68 words

Business — Human-centred approaches

Nine ways to unlock creativity in your organisation

A reminder why finding the right problem is often more important than finding the right ideas.

[M]ost of our organisations don’t suffer from a lack of ideas, they suffer from a lack of process that identifies the ideas worth having…

Creativity is not innovation. Creativity is a prerequisite for sure. Innovation, however, is the practical application of creativity.

Linknote — — 140 words

Business — User experience

Making work meaningful: A leader’s guide

McKinsey report on how to engage employees.

> People who find meaning at work are happier, more productive, and more engaged. Four practical interventions can help make the search more likely to succeed.

I am struck by how two of the four interventions listed are fundamentally about understanding your users better.

> ### Reduce anonymity
> Talk with employees about who their customers are, and encourage each employee to connect with one.
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> Build regular, face-to-face interactions with customers into existing processes, stimulating employees to learn who is most affected by their work.
>
> ### Help people grasp the impact of their work
> Invite customers who have had the best—and worst—experiences with your products to talk with employees in person so your team can see how their work affects customers.

Another reason why user experience is worth it.

Linknote — — 136 words

Culture — Human-centred approaches

Sainsbury's own brand packaging for trifle sponge cakes

Live well for less

Present&Correct has noticed that the Sainsbury’s own brand packaging archive is now available online.

I did snap up a copy of Jonny Trunk’s Own Label book when it came out. It features a wealth of Sainsbury’s own brand packaging from the 1960s and 1970s. The period marks a shift towards a more experimental, modernist approach to packaging design, “completely different from what had gone before,” according to Jonny Trunk’s foreword.

I find this sort of thing fascinating, because it’s almost telling a social history by stealth. It’s an insight into everyday life in mid-century Britain. When you turn the page and see packaging for broken eggs, you’re not just seeing a history of graphic design.

It’s one of the reasons why I also really enjoy visiting the Museum of Brands.

Photo — — 174 words

Personal

Me and Lauren after we completed the MoRun

This time last week, I ran the Edinburgh MoRun 5k with my friend and colleague Lauren Tormey. For a few hours only, I had a moustache. Definitely not my best look!

Me and my moustache

This is the first time I’ve entered a race. To my surprise, I finished 24th out of the 293 that entered the 5k race, with a time of 24:29. Not bad! Although I rather suspect this is because the serious runners had entered the 10k race. Or perhaps it was the aerodynamic benefits of having a moustache.

The route was the main road around Arthur’s Seat — a hilly route with 106 metres of climbing. So it felt pretty good to do my fastest run of the year here, as well as getting personal best times for a mile, a kilometre and a half kilometre (on the downhill bits of course, but still…).

To step up the challenge, people are suggesting I should start doing 10k runs. I’m not sure if I’m up for running regular 50 minute sessions to train for this… but watch this space.

Linknote — — 145 words

Architecture — Human-centred approaches — Music

“Brian Eno’s ideas have resonance for architecture” says Finn Williams

Where is here? And what is now? The answers are more complicated than you might think.

Eno’s realisation that “people live in different sizes of here” led him to the idea of The Big Here and Long Now – a way of thinking that asks fundamental questions of who we design for, the scale we design at, and the timescales we design in…

According to Danny Hillis, the inventor of the Clock of the Long Now, “the more we divide time, the less far we look into the future.” So what impact is this having on the design of our cities? And how can we create real and lasting public value in the context of an increasingly narrow and short-sighted here and now?

How architects, designers and urban planners can learn from Brian Eno’s generative music.