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TRIGGER SET

A pss that boosts creativity and fills the lack of a space suitable for collaborativetraining workshops.

2012 AUTHOR QUYNH NHU NGUYENTUTOR REBECCA PERA

Spaces + Tools + Resources

to my grandmas

TRIGGER SET

Spaces + Tools + Resources

A pss that boosts creativity and fills the lack of a space suit-able for collaborative training workshops.

767706 Quynh Nhu Nguyen TUTOR Rebecca PeraDATE : 22nd April 2013

MASTER’S IN PRODUCT SERVICE SYSTEM DESIGN

ABSTRACTENGLISHWe start to learn since we opened the eyes the first time, it is an innate process of the human being that allows us to evolve, learn about the environment in which we live, understand how to behave.The stimuli we receive from the outside trigger our processes of curiosity, attention, reasoning.

If the teaching methods have changed over time moving from models that considered the student a passive listener to models that are based on active learning through discovery and sensory activities, space has changed relatively little, the setting of the classroom is traditionally rigid and centered on the teacher.Especially in the training field there is a lack of adequate spaces and instruments that can address the raising of new training programmes adopting methodologies from the design field (experience design in particular): brainstorming, role-plays, mood-boards,...

This was my starting point as well as my design challenge: create a pss that boosts creativity and fills the lack of a space suitable for collaborative training workshops.A theme that came out during my internship period at XploraLab (a strategic con-sultancy agency on consumer behavior in relation to products/services, places and systems/processes) and I was asked to deepen. I accepted having seen firsthand the existing needs and glimpsing project opportunities waiting to be explored.

At the beginning of the research, to get the big picture, I analyzed teaching models

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based on experential approaches that engage the learner with discovery and group ac-tivities: the Montessory school, the Steiner method, the Jewish method, Brain Gym. Then I collected case studies in which the space has a fundamental role in fostering people interactions and collaborations, ranging from offices workplaces to laborato-ries, from new practices like the Placemaking to the D.School, the innovative design university in Standford.In the following section I describe the observation on the field I had the opportunity to conduct during the workshops I attended during my internship.A rich and valuable phase that helped me in closing the circle by integrating it with the results of the desk research. From these insights I drew out the guidelines for the concept and project phase.

The Trigger Set is a product service system aimed at creating an inspiring trainingspace where are mainly held collaborative and partecipatory workshops. This stimu-lating environment wants to break mental boundaries and encourage people to freetheir creative energy. It anyhow lends itself to broader educational context in whichthere is the need of realizing an engaging learning and shared experience, providing aflexible and lively framework.

The idea is to give educators, teachers, trainers, facilitators and any learning opera-tor a set of instruments, both tangible both immaterial that used in combination between them empowers the role of physical space as a tool to shape, trigger and sup-port learning process and behaviours.

The Trigger Set is made up of three units: Spaces, Tools, Resources.Spaces: the core unit is Spaces which in turn includes the spaces of Divergent space (creative activities), Relation space and Inspiration space. Where the people meet, create, discover.Tools: the complete equipment a workshop session may need to write, stick, fix ideas, brainstorm, collect data, discuss. It includes the Tinker Kit, Books and Games.

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Resources: they are available on an online platform to allow the deepening of the is-sues of learning spaces and also serve as a virtual plaza to exchange opinions. They are based on a blog, Pinterest and FlashTips cards.These three units can be used together as they complete and support each other but they can also be splitted.

A learning space should be an environment that beyond physical qualities embeddedalso emotional qualities. It needs to become an immersive dimension that involvestime, people and their relations.During the prototyping phase I tried to test my ipothesis and gain further indications to refine the service proposal.Since the approach of the method is iterative, the service itself must remain open, bedesigned in such a way as to allow growth and future implementations.The Trigger Set wants both to be a proposal for a service linked to the training spaces and a laboratory in course of work.

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ABSTRACTITALIANOImpariamo da quando apriamo gli occhi la prima volta, è un processo innato nell’uomo che gli permette di evolvere, conoscere l’ambiente in cui vive, capire come comportarsi.Gli stimoli che riceviamo dall’esterno attivano i nostri processi di curiosità, attenzi-one, ragionamento.

Se le metodologie di insegnamento sono cambiate nel tempo passando da mod-elli che consideravano lo studente un ascoltatore passivo a modelli che puntano sull’apprendimento attivo tramite attività di scoperta e sensoriali, lo spazio è cam-biato relativamente poco, il setting di aula è tradizionalmente rigido e centrato sull’insegnante.Specialmente nell’ambito della formazione lavorativa c’è una carenza do spazi e stru-menti adeguati rispetto all’emergere di programmi che adottano metodologie mutu-ate dal design (in particolar modo dall’experience design): brainstorming, role-plays, moodboard,...

Questo scenario è stato il mio punto di partenza nonchè la mia sfida progettuale: creare un servizio che stimoli la creatività e che riempa la mancanza di uno spazio adatto per condurre workshop di tipo partecipatorio e collaborativo.Un tema che è emerso durante il mio tirocinio presso XploraLab (il gruppo si occupa di consulenza strategica sui comportamenti dei consumatori in relazione a prodotti/servizi, luoghi e sistemi/processi) e che mi è stato proposto di approfondire. Ho ac-cettato avendo constatato di persona l’esistenza di bisogni e intravedendo opportunità

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progettuali in attesa di essere esplorate.

Nella parte iniziale della ricerca, per avere una fotografia del contesto, ho analiz-zato modelli di insegnamento esperenziale che coinvolgono gli studenti in attività di gruppo e di scoperta: la scuola montessoriana, il metodo steineriano, il metodo ebraico, il Brain Gym.

Successivamente ho raccolto casi studio in cui lo spazio ha un ruolo fondamentale nel favorire le interazioni tra le persone e la collaborazione spaziando dagli uffici ai laboratori, dalle nuove pratiche come il Placemaking alla D.School, l’innovativa università del design di Standford.

Nella sezione successiva descrivo l’osservazione sul campo che ho avuto l’opportunità di condurre durante i workshop a cui ho partecipato nel periodo del tirocinio.Una fase ricca e preziosa che mi ha permesso di chiudere il cerchio integrando con i risultati della ricerca iniziale e che mi ha portato a definire le linee guida per la fase di concept e realizzazione.

Il Trigger Set è un product service system volto a creare uno spazio per la formazione che sia stimolante e ispirante dove verranno svolte pricipalmente attività di workshop collaborativo. Questo ambiente coilvolgente intende rompere gli schemo mentali e incoraggiare le persone ad esprimere liberamente la loro creatività ed energia. Può prestarsi a contesti più ampi che contemplino finalità didattiche e di laboratorio, ovunque ci sia la necessità di realizzare uno spazio dell’apprendimento che sia vivace e coinvolgente, fornendo un contesto di lavoro flessibile e adattabile.

L’idea di base è fornire agli educatori, insegnanti, formatori e ogni operatore de-gli ambiti educativi un set di strumenti, sia tangibili che non tangibili che usati in combinazione tra di loro rafforzino il ruolo dello spazio fisico come risorsa per creare, stimolare e supportare i processi di apprendimento e i comportamenti.

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Il Trigger Set è composto da tre unità: Spazi, Strumenti, Risorse.Spazi: rappresenta l’unità centrale e include a sua volta lo spazio divergente (attiv-ità creative) , lo spazio relazionale e lo spazio ispirante. Gli spazi in cui le persone si incontrano, creano, scoprono.Strumenti: tutto ciò di cui si dovrebbe aver bisogno durante una sessione di work-shop per scrivere, attaccare, fissare le idee, fare brainstorming, raccogliere e visualiz-zare informazioni. Include il TinkerKit, libri e giochiRisorse: sono disponibili online su una piattaforma per permettere l’approfondimento degli aspetti legati agli spazi dell’apprendimento e inoltre servire come punto di riferimento per scambiarsi commenti e opinioni. Includono un blog, Pinterest e FlashTips.Queste tre unità possono essere usati insieme essendo nati per completarsi e integrarsi reciprocamente, ma anche essere divisi.

Uno spazio dell’apprendimento dovrebbe essere uno spazio che oltre agli aspetti fun-zionali incorpori aspetti emozionali. Occorre che sia una dimensione immersiva che coinvolga il tempo, le persone e le reazioni che intrecciano.

Dal momento che il metodo adottato è iterativo, il servizio stesso deve restare aperto, essere progettato in maniera tale che possa crescere e accogliere implementazioni.Durante la fase di prototipazione ho provato a verificare le mie ipotesi e di ottenere maggiori feedback per avere indicazioni su come rivedere e rifinire la proposta finale del servizio.Il Trigger Set vuole quindi essere al contempo una proposta di servizio leagato agli spazi della formazione ma anche un laboratorio in corso d’opera.

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INDEX

/ ABSTRACT ENGL ITA

1/ STARTING POINT/ FRAMING THE CONTEXT

1.1/ EXPLORALAB STAGE 1.1.1 WHAT IS EXPLORALAB 1.1.2 WHAT THEY DO 1.1.3 MY EXPLORALAB EXPERIENCE

1.2/ FACILITATING INNOVATION 1.2.1 TRAINING 1.2.2 EXPERIENCE DESIGN 1.2.3 WHAT IS FACIITATING INNOVATION

2/ DEFINE / PROBLEM=OPPORTUNITY

2.1/ INTRO 2.1.1 WORKSHOPS

47

15

18

2022

242833

37

40

13 / INDEX

50

54

65

68

707185

110

129134141

147149

2.2/ PROBLEM = OPPORTUNITY 2.2.1 TRADITIONAL VS INFORMAL 2.2.2 PROBLEM: WHAT SPACE? 2.2.3 OPPORTUNITY: SPACE AS A TOOL

2.3/ SERVICE DESIGN PROCESS 2.3.1 SERVICE DESIGN 2.3.2 SERVICE DESIGN PROCESS

3/ EXPLORE / RESEARCH AND ANALYSIS

3.1/ METHODOLOGIES OVERVIEW

3.2/ DESK RESEARCH: CASE STUDIES 3.2.1 EDUCATION 3.2.2 SPACE

3.3/ OBSERVATION ON FIELD 3.3.1 WORKSHOPS (SOGES/NH/UNIONE IND.)

3.4/ EXPERT INTERVIEW 3.3.1 FABLAB 3.3.2 TOOLBOX

3.5/ ANALYSIS 3.4.1 INSIGHTS

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3.4.2 GUIDELINES 3.4.3 DIRECTIONS

4/ CREATE / TRIGGER SET

4.1/ PROJECT DEFINITION 4.1.1VISION 4.1.2 BOUNDARIES 4.1.3 CONCEPT 4.1.4 NAME GENERATION

4.2/ TRIGGER SET 4.2.1 COMPOSITION 4.2.2 SPACES 4.2.3 DIVERGENT SPACE 4.2.4 RELATIONAL SPACE 4.2.5 INSPIRATIONAL SPACE 4.2.6 TOOLS 4.2.7 RESOURCES

4.3/ SERVICE SYSTEM 4.3.1 PERSONAS 4.3.2 SYSTEM MAP 4.3.3 BUSINESS MODEL CANVAS 4.3.4 SWOT

158160

165

169172174

176179184194196201207

211215218220

15 / INDEX

5/ PROTOTYPING

5.1 / PROTOTYPING 5.1.1 WHY 5.1.2 PREPARATION 5.1.3 TAKING THE FIELD

5.2 / UNDERSTANDINGS

6/ CONCLUSIONS

6.1/ FUTURE DEVELOPMENTS 6.2/ CONCLUSIONS

BIBLIOGRAPHY

ACKNOWLEDGEMENT

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227230

239

243

245247

252

259

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FRAME THE CONTEXT

STARTINGPOINT

1

1.1/ XPLORALAB INTERNSHIP

1.2/ FACILITATING INNOVATION

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1.1 XPLORALABINTERNSHIP

1.1.1 WHAT IS XPLORALABXploraLab1 is a company set up in 2010 in London. It carries out strategic consultan-cy on consumer behavior in relation to products/services, places and systems/process-es. It integrates non conventional analysis methods to the traditional social ones. The combination is able to provide originality and rigor. The goal is to offer their clients a deep understanding of the object under investigation with strategic indications that can merge into a research report, into a metaproject or into a project.

The group provides solutions to innovation and change issues: the advantage of us-ing innovative methodologies is value generation and competitive advantage.They help business enterprises, public sector and non profit organisations:• design and launch new products/services• increase customer satisfaction and get new insights on consumers• leverage brand strength and improve perceived brand image• segment markets in new ways• develop their marketing and communications activities.

PHILOSOPHY

XploraLab does not simply detect consumer’s needs, but translates them into crea-tive strategies needed to create competitive advantage. Strategic design and market research interact continuously.

1 www.xplora-lab.com

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The company’s philosophy is to involve young researchers who have a solid theoreti-cal and professional background on one side and mental freshness and openness to experimentation on the other. Thanks to these principles they can bring creativity and innovation in research methodologies and strategic processes. They apply the various techniques with the same philosophy in both the private and public sector. But if the former pursues innovation and change in product, process and communi-cation strategies, the latter stimulates social innovation. In addition to depicting and proposing development strategies in relation to a specific phenomenon, the group is able to design a bottom-up innovation process with strong involvement of users.

1.1.2 WHAT XPLORALAB DOESThe group XploraLab helps businesses and organizations to innovate their products, services and processes, through applied research and training at high level. This is possible thanks to the different approaches used:

• Cognitivescience(investigation of attitudes, values, mental models of the indi-viduals to which the process in question is oriented) and cognitiveergonomicsof design and communication

• Computationalsocialscience(analysis and interpretation of digital data and analysis of social network)

• EthnographyandAnthropology (Research on the customer experience)• Statistics(sampling, data management in SPSS, data processing, drafting re-

ports)• Strategicdesign (product / service, process and communication (from strategic

planning to graphic design and virtual product / service)• Marketing, (neuro-marketing and business disciplines).

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WHICH APPLICATIONS?

XploraLab applies its expertise in the areas of:• consumer behavior in regard of product/service (pre-design, interaction with the

product, customer satisfaction)• design and development of new products, restyling products, naming the prod-

uct, product packaging• design and development of multimedia products• investigation of the processes of internal and external communication regarding

the product/service, brand (planning, pre-launch, tracking and post-launch)• creation of events, staging and design spaces• development and design store concept• identifying new market segments for existing products or potential.

RESEARCH METHODOLOGIES

Companies and organizations need to understand, test, predict, plan behavior, at-titudes of the recipient of their offerings. For these objectives XploraLab applies traditional methods with areas with highly innovative tools and techniques. Research methodologies can be divided into the following categories:

Quantitativemethodologies with samples significant (telephone, electronic, face-to-face) statistically representative of the universe of reference, useful for photographing the size of a phenomenon.

Computationalmethodsofsocialresearch (analysis and interpretation of digital data and analysis of social networks). The service provides the digital track real-time monitoring of behavior and views of consumers, local and global trends, and online discussions about brands and products.

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1.1.3 MY XPLORALAB EXPERIENCEIn April 2012 I started an internship at XploraLab. The stage lasts 5 months and in this lapse of time I observed and collect impressions and first hand material about what it would have become my research context: training workplaces.My thesis project is a natural continuation of my XploraLab experience as internee.

IN MEDIAS RES

Starting from an initial formation as a product designer I continued my studies in PSSD to complete my profile and learn to have an overall and systemic view of a product and /or service.When I arrived at XploraLab there were several ongoing activities and did not know what I would have been assigned. I had no time to understand that I found myself in the middle of focus groups, partecipatory design sessions and extrapolating insights. The variety of activities in which I took part during my internship, some ongoing and other at the beginning, the continuously varied rhythm (we were switching be-tween deliveries with upcoming deadlines to projects to be delivered in more dilated time), allowed me to measure my resources on the field, outside the lecture theater and in real contexts. Such as diversity in a relatively short time was the richness of this stage, the opportunity to observe, train and develop capacity of synthesis and sense of adaptation.

FACILITATING INNOVATION

The focus of my activities was the workshop sessions belonging to the program Facilitating Innovation. Facilitating Innovation is a program offered to managers and companies characterized by a creative and innovative approach.

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The project combines innovative methods with co-creation training activities with the organizations adopting techniques borrowed from the service design. There are elements of familiarity with the practices learned from PSSD and one of the most interesting is the involvement of users who are not familiar with these practices, not insiders. Space plays a key-role in communicating to those unfamiliar users that they can go beyond the traditional training activities they are used to and that is welcome they free their way of thinking and interact.

3 WORKSHOPS + 1 FOCUS GROUP

I took part in 3 workshops and 1 focus group held in these months.I will analyze them in detail in the next chapters with the exception of the Lifestyle and health focus group which was a reserved research.

• Safety on workplace/ Soges (2 sessions)• Salesperson/ Unione industriale (1 session)• Energylab /Politecnico di Torino (1 session)• Lifestyle and health/ Dipartimento di Salute Pubblica-Università degli studi di

Torino (1 session)

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1.2 FACILITATINGINNOVATION

CONTEXTJOB TRAINING + EXPERIENCE DESIGN TECHNIQUES

Facilitating Innovation is a management training programme based on a experience design approach. Giving a definition of what we are speaking about is important to enter the subjecr with the right mindset and understanding.

1.2.1 TRAININGTraining is defined as learning that is provided in order to improve performance on the present job (Nadler, 1984).This differs from a few other definitions in that rather than “training” being used as a verb — to train, it defines it from the learners’ action — an activity that they per-form.Performance is improved by helping learners to master a new or established technol-ogy. The technology may be a piece of heavy machinery, a computer, a procedure for creating a product, or a method of providing a service.Notice that the last part of the definition states that training is provided for the present job. This includes training new personnel to perform their job, introducing a new technology, or helping an employee to achieve standards.

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Earlier it was stated that there are four inputs to a system: people, material, technol-ogy, and time. Training is mainly concerned with the meeting of two of these inputs — people and technology — helping people master a given technology.Training can be on-the-job or off-the-job.

Note: We often think of technology as computers, electronics, etc., but it is much more. The Merriam dictionary defines technology as the practical application of knowledge, especially in a particular area. It includes the usage and knowledge of tools, techniques, and crafts, or his systems or methods of organization.

On-The-Job Or Off-The-Job

• On-the-job: employee training at the place of work while he or she is doing the actual job. Usually a professional trainer (or sometimes an experienced employee) serves as the course instructor using hands-on training often supported by formal classroom training.

• Off-the-job training takes place away from normal work situations — imply-ing that the employee does not count as a directly productive worker while such training takes place. Off-the-job training has the advantage that it allows people to get away from work and concentrate more thoroughly on the training itself. It often utilizes lectures, case studies, role playing, simulation, etc

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1.2.2 EXPERIENCE DESIGNSince there is not an univocal definition of this discipline to better explain what is Experience Design I choose as main reference the words of Elisabeth Sanders2, a pio-neer in the use of participatory methods and generative tools for collective creativity.

WHAT IS EXPERIENCE?

2 Sanders, E.B.-N. (2001) Virtuosos of the experience domain. In Proceedings of the 2001 IDSA Education Conference Liz Sanders is a pioneer in the use of participatory methods of research for the design of products, systems, services and spaces. She divides her time between teaching and practice. Liz teaches human-centered design to his students, colleagues and clients around the world.

past

memories

the moment

dreams

present

future

Experience is a subjective event, felt only by the person who has the experience. Experience is ephemeral, lasting only for the moment. Sanders call memories the experiences that have already been lived and felt and dreams the experiences not yet lived or felt, but imagined. Experiencing is the point where memory and imagination meet. Figure 1 shows the full set of experiences (i.e., memories, the current moment and dreams) in the experience domain.

FIG.1 The Experience domain

She is an Honorary Professorship at the School of Design at the University of Dundee and Advisory Board Member for the School of Design at Carnegie Mellon University. Liz teaches courses in research design on request to all design students at Ohio State University.

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The moment is inextricably woven into past memories. We interpret what is hap-pening around us with reference to our past experiences. The moment is also tightly coupled to the dreams of our imagination. We interpret what is going on around us in anticipation of our hopes and fears for the future.

What is experience design?There is no such thing as experience design. You can’t design experience becauseexperiencing is in people.You can design for experiencing, however. You can design the scaffolding or infrastructure that people can use to create their own experiences.

Who are the creatives?Everyone is creative (Bohm, 1998). Most people, however, are not in the habit of us-ing or expressing their creativity. Their creativity is likely to be latent. In fact, ordi-nary people have gotten a reputation (amongst designers and marketers, for example) of not being creative at all. This attitude comes, in part, from the language of product development. We call people “consumers”, “users”, and “customers.” But people only play these roles forsmall, often insignificant and not so positive portions of their lives. When we label them, it relegates them to minor roles.

There is a wellspring of creativity that all people have when it comes to experiencesmeaningful to them. And with the advent of new forms of communication and information technology, people today are becoming more demanding “consumers”. They are beginning to use their influence to get what theywant, when they want it and how theywant it. They are in the position now to become participants, even idea generators, in the design development process. And they know it.

How do you design for experiencing?Thefirststepinlearningtodesignforexperiencingistotakeanewattitudeaboutthepeoplewhobuyandusetheproductsandservicesyouaredesigning.

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Thisattitudeistorespecttheiropinionsandtorespecttheirinnatecreativity.Thenewattitudecomesfromafieldknownasparticipatorydesign.The par-ticipatory attitude is based on the principle that those involved in the use and/or production of a product need to be directly involved in its design.There are many different ways to do this.

Each route to experience reveals a different story or picture. Listening to what people say tells us what they are able to express in words (the explicit knowledge). But it only gives us what they want us to hear. Watching what people do and seeing what they use provides us with observable information (or observed experience). But knowing what people say/think, do and use is not enough (Sanders, 1992).Discovering what people know helps us to communicate with them. Understand-ing what they feel gives us the ability to empathizewith them. This way of knowing provides tacit knowledge, that is knowledge that can’t readily be expressed in words (Polanyi, 1983). Evoking people’s dreams will show us how their future could change for the better. It can reveal latent needs, the needs not recognizable until the future. When we bring ordinary people through a guided discovery process and put them in touch with their feelings and dreams, we have established in them the conditions for creative thought and expression.

These different ways of accessing people’s experiences have evolved over time.The new tools are focused on what people make,what they create from the toolkits we provide for them to use in expressing their thoughts, feelings, dreams and new ideas. Make methods enable creative expression by giving people ambiguous visual stimuli to work with. Being ambiguous, these stimuli can be interpreted in dif-ferent ways, and can activate different memories and feelings in different people. The visual nature liberates people’s creativity from the boundaries of what they can state in words. Together, the ambiguity and the visual nature of these tools allow people room for creativity, both in expressing their current experiences and feelings and in generating new ideas.

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WHAT PEOPLESAY, DO AND MAKE:A DESIGN RESEARCH FRAMEWORK

Sanders, 2001

When all three perspectives (what people do, what they say, and what they make) areexplored simultaneously, we are able to understand the experience domains of the ordinary people we are serving. When we bring them through guided discovery and give them the participatory make tools, we have set the stage for them to express their own creative ideas.The what people do methods cover the current situation only. The what people say methods extend backward to the recent past and forward into the immediate future. The what people make methods, on the other hand, extend even farther to the past (i.e., into memories) and the future (i.e., into dreams).

DO

SAY

MAKE

3 Sanders, Experience, Exploring and Experimenting in and with co-design space, 2001

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What people say, do and make across the experience domainThis framework can be very useful when deciding how to plan relevant design re-search approaches. For example,we might start in the middle with what people do in their current situation using contextual observations. Then we might move to what people say methods in the form of a dairy as well as one-on-one interviews. Finally, we could engage the participants in what people make sessions using a wide variety of participatory tools. In this type of plan, each research phase can be informed by the previous phase. The use of a wide variety of research methods and tools results in a very rich array of data.

Designforexperiencingalterstheunderstandingofcreativityindesign.Weseethatthecollectivecreativityofagroupofpeoplecanbemorepowerfulandrelevantthanindividualcreativity (Sanders, 2001)3.

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1.2.3 WHATFACILITATING INNOVATION ISTRAINING/ RESEARCH/ INTEGRATED CONSULTANCYThe project combines innovative methodologies for training with activities of co-creation with the organization.“Facilitating Innovation” intends to be an answer to be an answer to the limits :

• of the training(such as the low individual internalization of the contents in the long term and the lack of translation into behaviors and activities for the belonging reality)

• and the consultancy:(visions / strategies / activities / actions indicated by external consultants with a top-down approach in which the organization becomes a mere passive recipient of concepts often dropped from above).

“Facilitating Innovation” co-creates and co-designs interventions and actions for the development of innovation thanks to the facilitation carried out by experts who, through a specific methodology, are able to translate and channeling the views of participants into specific activities.

STRUCTURE

who: 12 participants + 1 expert + 1 facilitatorwhen: 1 day or more for each workshopwhere: on-site or off-sitewhat: 7 workshops + 2 games + 2 tests -> deliverables

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7 workshops

• Strategic creativity• Innovation culture• Knowledge innovation• Storytelling• Business model innovation• Design Thinking• Innovation Communication

2 games• Storming Innovation• Lego Seriuos Play

2 tests• Kaleidoscope Test• Innovation Awareness Test

DELIVERABLES Actions plan/ Creative mind-set/ Guidelines/ Metaproject/ Report/ Video

The aim of Facilitatating Innovation is to deeply investigate values, explicit and hid-den needs, mental models, risk perception, languages and codes adopted and inter-preted by the different interlocutors who daily interact. This understanding represents a rich area of opportunities essential to the design of new patterns and projects. The results are delivered as a report that contains guidelines and actions plan and last, but not least, the participants gain a creative mind-set. An enrichening experience.

FACILITATING INNOVATION

DELIVERABLES

games 7 days workshop

metaproject videoactions plan

tests

1 facilitator

12 participants

1-2 experts

37 / STARTING POINT

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Xploralab workshops

PROBLEM= OPPORTUNITY

DEFINE2

2.1/ WORKSHOPS

2.2/ PROBLEM = OPPORTUNITY

2.3/ SERVICE DESIGN PROCESS

1 For further details on the methodology are recommended as references: Floch J.M.(1990), Sémiotique, Marketing Et Communication. Sous Le Signes, Les Stratégies, Presses Univer- sitaires De France, Paris, {trad. it. Semiotica Marketing e Comunicazione, Dietro i Segni le Strategie, Franco Angeli, Milano 1992}. Greimas A. J. (1983), Du Sens II - Essais Sémiotiques, Seuil, Paris {trad. it. Del senso 2. Narrativa, modalità, passioni, Bompiani, Milano, 1984} Greimas A. J.

2.1INTRO

2.1.1 WORKSHOPSA consistent part of my internship took place in classroom during workshop sessions of Facilitating Innovation training program. It has been the most engaging and rich moment in which I had the opportunity to get into action, experiencing in first per-son and see issues and potentialities.

METHODOLOGYUsing essentially a qualitative research methodology1 to provide explanations and ar-ticulated descriptions underlying the investigated theme. The research phase managed by XploraLab use analytical and creative sessions with the involvement of the actors in the process. A variety of techniques are adopted with the aim of sharing opinions, attitudes and experiences.The universal laws of scientific reference of this methodology are drawn from struc-turalist semiotics and psychology and neo-cognitive and neo-functionalist, and are essentially based on the fact that the imagery produced by subjects on the test objects are an heritage of the database from which consumers derive the basic elements for the creation of attitudes and the realization of behaviors. The lack of a statistical study of the research is compensated by the in-depth evaluation of the imaginaries and attitudes.We can not anyway give to this kind of research, a predictive function, but only a descriptive function.

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43 / DEFINE

Facilitator and expertsEach of the training sessions is characterized by a high methodological innovation. Thanks to the presence of a facilitator and qualified experts of the specific contribu-tion participants are stimulate to co-design, according to the different content, strate-gies, tools and proper actions for their organization reality.It requires one’s full attention to lead the group through the session, asking the rightquestions at the right moments and managing the group dynamic. The person who will lead the analysis should be able to observe, concentrate and listen to what the participants say and do, while making interpretations; this allows little time for any-thing else. He or she should not lead the session. Participants need to be guided in a step-wise process to facilitate awareness about their own experiences. stories, and then contin-ued with a following exercise.The participants are encouraged to feel that they are the experts in the experience domain being explored and the facilitator must believe that to be true. It is the facili-tators’ task to lead the discussion, and the participants’ task to express their thoughts and personal experiences. The participants are told that nothing they will say is ‘wrong’ and that everyone has their own experiences and that each person should respect the experiences and opinions of the other participants.

Experience designThe methodology makes uses of new techniques provided by the Experience Design field (cognitive maps, mood-boards, customer journey map, panels, storyboards, role playing, metaplan, business model canvas, give-me-an-answer-board ...) with the aim to facilitate the generation, sharing and visualization of solutions related to innova-tion.

Analytical - Creative SessionsAnalytical-creative session is defined as a group session, consisting of a minimum of

e Courtés J. (1979), Sémiotique: Dictionnaire Raisonné de la Theorie du Language, Hachette, Paris {trad. it. Semiotica: dizionario ragionato della teoria del linguaggio, Casa Usher, Milano, 1983} Greimas A.J. (1976), Sémiotique et Sciences Sociales, Editions du Seuil, Parigi, {trad It. Semiotica e Scienze Sociali, Centro Scientifico Torinese, Torino, 1991}. Pera R. (2005), Intuizione creativa e generazione di nuove idee. Utet libreria, Torio

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six people to a maximum of fifteen, led by a coordinator, also known as animator or mediator, lasting several hours, with the aim of producing ideas, relating to a given problem, situation or phenomenon that you want to fix, change or transform.

PHASESThe phases constituting a creative session are essentially these three+warm-up:

Warm-up:A session normally begins with a warm-up activity to ‘break the ice’. The participants are given a chance to feel at ease, because they usually do not know each other and may be asked to talk about personal matters;

1. Focus of the problem:After the warm-up there is a preparation phase. Setting up the study involves theformulation of goals, planning,selecting participants, choosing techniques, etc. Theseelements are known by conventional research practitioners. With generative tech-niques, however, extra attention is needed in formulating goals. Generative research appears less formal than more traditional forms of research but its successful applica-tion rests on carefully selecting the main directions of exploration;

2. Production of ideas:Participants receive instructions and sets of expressive components, and create arte-facts that express their thoughts, feelings, and ideas. Their experiences are revealed when they are asked to present and to explain these artefacts to the other participants in the group. Subsequently, a group discussion takes place. This overall flow of events can be repeated two or three times using different types of generative toolkits.The first exercise opens the minds of the participants by stimulating them to makeassociations and revive memories. For this, we usually do a mind-mapping exercise. This is an accessible technique because participants can easily make associations. After the first exercise, deeper levels of feeling or knowing can be touched.

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The qualitative data collected in the sessions are rich and diverse. The study is not meant to support or reject existing hypotheses, but to explore the context, uncover unexpected directions, and widen the view on a given topic;

3. Selection of key themes and relations:In the search for a variety of patterns, all the annotations and the data are organised and reorganised. Determining recurrent and/or striking themes about the experience creates an overview. For the early phase of the process, the results can both inform and inspire.

Analytical - Creative Sessions schemePera, 2005

All the ideas are accepted and the horizon widens

The best ideas are selected focusing on a precise portion of

the horizon

DIVERGENT PHASE

CONVERGENT PHASE

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PROBLEM PRESENTATIONconstraints

1

2

4

5

6 6

6

internal stimulus

external stimulus

PREPARATIONData collection

Learning of new informations Use of a specific field of knowledge

3DIVERGENT PHASEAssociation of inf. belonging to nodes distant from the initial one. Use of semantic

memory.

3DIVERGENT PHASEAssociation of inf. belonging to nodes distant from the initial one. Use of autobio-

graphic memory.

synthetic capabilities

analytical mnestic capabilities

partial acceptance of the task (success)

full acceptance of the task (success)

END PROCESS

END PROCESS

complete rejection of the task (failure)

analytical circumstantial capabilities

contextual practical persuasive and com-

municative capabilities

CONVERGENT PHASEbest ideas selection

SOCIAL VALIDATION

1 definitions from: www.servicedesigntools.org

TECHNIQUESWithin creative sessions several techniques are used to facilitate a deeper understand-ing and reframing of the object or problem in testing and to facilitate the production of creative ideas.The full range of generative toolkits and techniques is infinite and is constantly in-creasing in variety. Usually a range of different generative techniques is used together in one session. The choice of a technique depends on what the researcher wants to explore. Flowchart mapping and cognitive mapping are good for eliciting intuitive relations of patterns or processes. Modelling enables participants to embody their ideas or give form to their unmet needs. The components of these toolkits are delib-erately ambiguous so they can be interpreted and used in a variety of ways.The techniques most commonly used are described below1.

Cognitive Map The technique of Cognitive Map to which there is based on the model of the seman-tic network.

MoodboardCollaging is an accessible technique for eliciting memories and emotionalresponses and is often used early in the generative session (Stappers and Sanders, 2003).

Model Reader or ideal user The technique of the Model Reader or ideal user aims to produce a detailed descrip-tion of what could be the ideal customer of the object meeting by the members of the group. It is considered a projective technique because it helps feelings and percep-tions indirectly related to the product to emerge.

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Cognitive Map

Moodboard

Ideal User

Chinese Portrait

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Chinese portrait The technique of the Chinese Portrait consists in asking the subject a transformation of the object/concept into something that is assumed to be known by all the mem-bers of the group to understand the type of values they assigned.

Latent Structures The technique of Latent Structures, based on associations of words, can explicit the emotion of the group linked to the concept in question and which are the deep struc-tures associated with the word stimulus used. An initial word is provided as stimulus and participants are asked to associate another word, until a list of about twenty or thirty words is reached.

Creative Cards They are a tool for creative thinking based on visual and imaginary associations. Every card is randomly picked and shows an ambiguos image that the participant should interpret in relation to the investigated subject.

Customer Journey MapA Customer Journey Map provides a vivid but structured visualisation of a service user’s experience. It gives a high-level overview of the factors involved. Basing the map on user insights allows it to chart both formal and informal touchpoints. It can incorporate photos, personal quotes and commentary.

PersonasThe personas are archetypes built after a preceding exhaustive observation of the po-tential users. Each persona is based on a fictional character whose profile gathers up the features of an existing social group. In this way the personas assume the attributes of the groups they represent: from their social and demographic characteristics, to their own needs, desires, habits and cultural backgrounds.

Customer Journey Map

Creative Cards

Personas

2.2 PROBLEM = OPPORTUNITY

2.2.1 TRADITIONAL VS INFORMALThe type of training adopted by Facilitating Innovation through creative workshops does not refer to traditional formats that expect the passive transfer of contents from the trainer to the trainee through lectures. The trainees are in fact an active part of the training process as they co-participate in the production of the research and investigation materials.The activities of a typical FI workshop is based on collaboration and teamwork dur-ing which mental states alternate, from divergent to convergent phases, which require commensurate energy levels.Contents are not pre-programmed and the development of thinking and learning does not occur in a linear way rather in an iterative way.Previously the knowledge was captured in a book and the teacher’s job was to facili-tate the acquiring of the information therein and understanding it. The teacher is now a ‘facilitator’ and facilitate the mapping of fields of information and try to help to manage it into a frame of knowledge1 (Ross Donaldson, 2006).

2.2.2 PROBLEM: WHAT SPACE?Shift in thinking processes requires modifications in the physical structures as well.A strong relation interrelates the space, tthe environmental stimuli and creativity, the

1 Ross Donaldson, Woods Bagot Public Paper #2 Education Futures paper, 2006

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training room |

54

level of energy that you can free during a training session and in a workplace.

That’swheretheproblemis:atthepresenttimeFacilitatingInnovationisrunintoavarietyofplacesthatdon’tfittheneedofopeness,creativegroupsactivi-tiesandflexibility.Thesespacesresulttobeveryrigidandtraditional,stronglyconnotedbyformalityincontrasttothecreativeenergythatshouldbedevel-oped,especiallyduringthedivergentphase.WhatcharacteristicsandfeaturesshouldhaveafunctionalspacetorunaFacili-tatingInnovationworkshopsession?Ithastobedesigned.The physical environment is only the translation of the mental space dedicated to creativity, able to break these habit patterns that often become the cage of everyday life for innovation.

2.2.3 OPPORTUNITY:SPACE AS A TOOLSpace should not be intended as a mere matter of furnishing, but as an opportunity to design a working tool available to anyone who needs to organize/participate to a workshop rich in divergent activities ( through generative techniques2).Space as a prosthesis of thoughts, ideas, support and visualization of the processes of co-creation. A shapeable and shareable space.On another level it is necessary to understand how to support the workflow before, during and after the workshop session in order to provide a complete experience that lasts and that remain open to improvements in his strucuture.A first draft list of considerations to keep in mind:• an adequate space is needed

2 Sanders, L., A Framework for Organizing the Tools and Techniques of Participatory Design,, 2011

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• space as a tool• use and sharing of best practices• support the flow and dynamics of highly creative workshop

The design process will outline the development guidelines to transform these decla-rations of intent into a project proposal for a new product service system.

Industrial Union, Turin

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2.3DESIGN PROCESSWhat design path for a product service system?To answer this question it may be useful to take a step back and spend a few words on what Product Service System Design is.Product Service System Design is a new discipline that has still to be defined, but it is known that all the disciplines related to the design field can not have a stable and unique definition for their intrinsic dynamic and interdisciplinary nature.

2.3.1 SERVICE DESIGNIf you would ask ten people what service design is, you would end up with eleven different answers - at least (Marc Stickdorn, 2011).

Service design3 is an interdisciplinary approach that combines different methods and tools from various disciplines. It is a new way of thinking as opposed to a new stand-alone accademic discipline.Service design is an evolving approach, this is particularly evident in the fact that, as yet, there is no common definition or clearly articulated language of service design.A single definition of service design might constrain this evolving approach, whereas a shared language is undoubtebly imporant for further growth and development of service design thinking.A working definition of service design has to be found in the combination of vari-ous exemples and attempts, proofs of different points of view within and across this

3 Stickdorn, M. and Schneider, J., This Is Service Design Thinking, John Wiley & Sons, Hoboken, New Jersey, 201

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emerging field.

ACADEMIC APPROACHES FOR SERVICE DESIGN DEFINITIONS

Service design is an emerging field focused on the creation of well thought through experiences using a combination of intangible and tangible mediums. It provides numerous benefits to the end user experience when applied to sectors such as retail, banking, transportations, and healthcare.

Service design as a practice generally results in the design of systems and processes aimed at providing a holistic service to the user.

This cross-disciplinary practice combines numerous skills in design, management and process engineering. Service have existed and have been organised in various form since time immemorial. However, consciounsly designed services that incorporate business models are empathetic to user needs and attempt to create new socio-eco-nomic value in society. Service design is essential in a knowledge driven economy./ The Copenaghen Institute of Interaction Design, 2008

Services depend on users’ behaviour and direct participation in the delivery system that can require changes in lifestyles and consumption modes/ Meroni, 2007

Service Design helps to innovate (create new) or improve (existing) services to make them more useful, usable, desiderable for clients and efficient as well as effective for organisations.It is a new holistic, multi-disciplinary, integrative field./ Stefan Moritz, 2005

Service design is all about making the service you deliver useful, usable, efficient and

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desiderable./ UK Design Council, 2010

What are the origins of service design? Are there any exemples of service design in the history of design? [..]This kind of research is important in order to understand the deep relationship between design and services as something that is not new but em-bedded in the history of design. What is new is the growing importance of services in our everyday life in comparison to products and awareness of the necessity to develop a service design approach./ Luisa Collina, 2011

Service Design aims to ensure service interfaces are useful, usable and desiderable from the client’s point of view and effective, efficient and distinctive from the sup-plier’s point of view./ Birgit Mager, 2009

AGENCY APPROACHES FOR SERVICE DESIGN DEFINITIONS

Service design is a design specialism that helps develop and deliver great services. Ser-vice design projects improve factors like ease of use, satisfaction, loyalty and efficiency right across areas such as environments, communications and products - and not forgetting people who deliver the service./ Engine Service Design, 2010

Service design is a holistic way for a business to gain a comprehensive, empathic understanding of customer needs./ Frontier Service Design, 2010

Developing the environments, tools and processes that help employees deliver supe-rior service in a way that is proprietary to the brand.

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/ Continuum, 2010

Service Design is the application of established design process and skills to the devel-opment of services. It is a creative and practical way to improve existing services and innovate new ones./Live|Work, 2010

When you have two coffee shops right next to each other, and each sells the exact same coffee at the exact same price, service design is what makes you walk into one and not the other./ 31 Volts Service Design, 2008

4 Stickdorn, M. and Schneider, J., This Is Service Design Thinking, John Wiley & Sons, Hoboken, New Jersey, 201

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5 PRINCIPLES OF SERVICE DESIGN THINKING4

1. User-Centred2. Co-Creative3. Sequencing4. Evidencing5. Holistic

1. User-CentredServices should be experienced through the customer’s eyes.To deliver services, a certain degree of customer participation is necessary. Services are created through interaction between a service provider and a customer. Though statistical customer description are important, a true understanding of habits, culture, social context and motivation of users is crucial. We need to put the customer at the centre of the service design process. Gaining authentic customer insights includes the application of methods and tools that enable the service designer to slip into the customer’s shoes and understand their individual experience and its wider context.We are all customers though with different needs and mindsets. The understanding and disclosure of these disparate mindsets is where service design thinking begins.

CUSTOMER

2. Co-CreativeAll stakeholder should be included in the service design process.During a service design process we need to involve customers as well as all other stakeholders involved in exploring and defining the service proposition. And we need to be creative. Since ‘creativity’ is not familiar to people, service designers consciously generate an environments that facilitate the generation and evaluation of ideas within heterogeneous stakeholder groups.Co-creation during the design process facilitates a smooth interaction between the stakeholder durign the actual service provision-essential for both sustainable custom-er and employee satisfaction.

CUSTOMER

STAKEHOLDER

SERVICE DESIGNER

SERVICE PROVIDER

61 / DEFINE

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3. SequencingThe service should be visualised as a sequence of interlaced actions.Services are dynamic processes that take place over a certain period of time. This service timeline is crucial to consider when designing services, since the rythm of a service influence the mood of customers. Service designers deconstruct service processes into single touchpoints and inter-actions. These, when combined, create service moments. The sequence of service moments should thus be well orchestrated to achieve a pleasant rythm, ensuring a climactic progress of the customer’s mood and commu-nicating the story inherently to the service through each touchpoint.

TOUCHPOINT SERVICE PERIOD

4. EvidencingIntangibles services should be visualised in terms of physical artefacts.Services often take place unnoticed in the background.Service evidence can prolong service experiences beyond the mere service period far into the post-service period. Utilising this effectively has the potential to increase customer loyalty and for customers to recommend the service to others. In addition, evidence can explain certain aspects of a service touchpoint or process. They need to be designed according to the service inherent story and its touchpoints sequence.

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keep the big picture!

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5. HolisticThe entire environments of a service should be considered.Although services are intangible, they take place in a physical environment, using physical artefacts and do in most instances generate some form of physical outcome. Subconsciously, customers perceive this environment with all their senses. We see, hear, smell, touch and taste the physical manifestation of services.Although is impossible to consider every single aspect of a service the intention should be to see the wider context in whic a service process take place.At the level of individual touchpoints and service moments, the focus should be on the environments where the service take place. At the level of the service sequence, there should be a focus on alternative customer jurneys. At the level of the service provider, the focus should be on the organisation of the service provider.

To summarise, service design thinking supports the co-operation of different disci-plines towards the goal of corporate success through enhanced customer experiences, employee satisfaction, and integration of sophisticated technological processes in pursuing corporate objectives.

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2.3.2 SERVICE DESIGN PROCESSDesignprocessesarenonlinearbutitispossibletoarticulateanoutlinestruc-ture.Itisimportanttounderstandthatthisstructureisiterativeinitsapproach.This means that at every stage of a service design process it might be necessary to take a step back. The very important difference is ensuring that you learn from the mistakes of the previous iteration.

Theveryfirststepofaservicedesignprocessistodesigntheprocessitself, since the process depends on the context of the service and this varies from project to project.Literature and practice6 refer to various frameworks made up of three to seven or even more steps, but fundamentally they all share the same mindset. We can say that the four steps7 of exploration, creation, reflection and implementation represents the basic approach to structure such a complex design process.

1. ExplorationUsing a set of methods and tools in this phase the aim is to explore and understand in a divergent way, the behaviour and mindset of all people involved, the context of the project, being open to any and all info that can be interesting or inspiring and identifying trends.Then from all of the possibilities,converging to a specific point of intervention, defin-ing the boundaries and goals.

2. CreationGeneration, evaluation and development of concepts based on the identified problem and in-depht insights generated in the exploratory stage; identification of customers’ needs, motivations, expectations, the service providers’ processes and constraints, and the iterative building together of these elements to form a complete system.

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3. Reflection / PrototypeTime to test the ideas and concepts, gather feedbacks and identify potential weak-nesses in the system. Simplicity and roughness are not a lack but instead allow quick test and retest and increase imagination and creative response from the participants.

4. ImplementationReviewing the lessons learned from the testing phase and developing a final, opti-mised solution ready for implementation.

EXPLORATION CREATION PROTOTYPE IMPLEMENTATION

iterative process

RESEARCH& ANALYSIS

3EXPLORATION

3.1/ METHODOLOGIES OVERVIEW

3.2/ DESK RESEARCH

3.3/ OBSERVATION ON FIELD

3.4/ ANALYSIS

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3.1 METHODOLOGIES OVERVIEW

RESEARCH• Desk Research + Case Studies• Expert Interviews• Observation On Field

ANALYSIS• Insights• Guidelines• Scenarios

In the exploration (and understanding) phase the goal is to go deep into the topic, in order to inform and inspire the concept generation phase.These methodologies were sometimes not carried out in a strictly subsequent order. As the design process itself is an iterative process more similar to a circle than to a line, in the same way desk research/case studies/observation on field sometimes alter-nated and sometimes overlapped ensuring and reinforcing a consistent understanding but maintaining multiperspectives and richness.The aim is to capture the big picture of what learning spaces are and processes at present, trying to catch recurring elements that helps in tracing trends.In order to stimulate cross pollination between ideas and concepts the research has been conducted also across fields or situations apparently not very close to the specific

71 / EXPLORATION

project subject (a product service system space for Facilitating Innovation) but in some way related to the macrocontext of education and innovation.The next step is to extrapolate meaningful indications to build the concept phase.

DESK RESEARCH

EDUCATIONMontessori methodSteiner schoolJewish methodEducational Kinesiology

D.SchoolPlacemakingCoworkingOfficesLaboratory

FablabToolbox

Soges (X2)EnergylabUnione Industriale

Lifestyle and health

SPACE

LABORATORYCOWORKING

WORKSHOP FOCUS GROUP

CASE STUDIES

EXPERTINTERVIEWS

OBSERVATIONON FIELD

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3.2 DESK RESEARCHRESEARCH STREAMS

“Tell me and I will forget. Show me and maybe I will remember. Involve me, then I will understand.”Confucio

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3.2.1 EDUCATION 00/ Premise01/ Montessori method02/ Steiner school03/ Jewish method04/ Educational Kinesiology

PREMISE: A POINT OF VIEW ABOUT TRAINING & LEARNING1

There are certainly different ways of interpreting training: you can speak, for ex-ample, of training as a service or of training as a process. As a service it refers in a broad sense to a social system, such as process in a narrow sense it refers to a model of organizational system.Transformation is an educational activity. So its goal is knowledge: the promotion, distribution, updating of knowledge. As well as the promotion, dissemination and updating of ways to use that knowledge.

The educational activity is a moment of growth for the involved subjects (it can be a cultural, social, professional, personal growth). It is in these terms that the educa-tional activity binds inextricably learning and change.

1 Gianpiero Quaglino , Fare Formazione, I Fondamenti della formazione e i nuovi traguardi, Raffaello Cortina Editore, Milano, 2005

learning changing

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To understand this change underway is necessary to consider the following opposi-tions:a) academicism vs. activismb) contents vs. processc) structuration vs. deconstruction

academicism vs. activism- academicism means distance between teacher and participant, rigidity of the peda-gogical relationship, difficulty in achieving intensive educational projects (seminars or courses of more consecutive days, full-time), one-way communication, coldness, impersonality, abstraction, etc.- activism means direct involvement of the student, referring to the group, learn-ing by doing exercises, experimenting, solving problems, alternation of moments of learning, progressive construction, designed and guided learning, two-way communi-cation, discussion, and debate lively, accountability , concreteness, etc..The opposition between the two approaches is summarized in the difference between ways of acquiring knowledge through listening and attention, or based on engage-ment (active) in first person by the student; between knowledge transmission and knowledge processing which requests analysis, solution, discussion of problems

content vs. processQuaglino says there is another historical opposition between those who consider the acquisition of the content the learning and educational goals, that is the know bound to specialized topics and strongly characterized in a technical sense, in any case the so-called professionalknow-how and those who consider as a priority an “universal” and not specialist knowledge: the one of the behaviors of the work and interpersonal relationships. In this case, the attention is focused on the processesinvolved (the execution in connection or with other ).This opposition is reflected in two different ways of learning:

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- content: based primarily on the trasmission of knowledge; usually formalized in a precise way (and probably rigid).- process: more centered on the personal elaboration; it tend to be open, question-ing, willing to negotiate issues, problems, emotional implications.

structuring vs. deconstructionIt is an opposition of teaching approaches between a training programmed in detail and a training as a container for events.- structuring: the first mode consists in following a learning path in a logical and predetermined sequence, strictly structured;- deconstruction: the learning path itself has to be build moment by moment and at that moment, there are no pre-assigned themes, just the boundaries of space-time (classroom, participants, duration of the meetings).

These oppositions express the state of the problem of method. The theoretical knot coincides with the re-establishment of the state of circularity between learning and action (active knowledge) instead of simple analysis -> check (knowledge transfer) (Lewin, 1947).

action/experience1

2

3

4

personal discover

personal reflectionpersonal reprocessing

Quaglino, 2005

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TRADITIONAL METHODS AND EXPERIENTIAL GROUPThe traditional methods are configured in the form of course or seminar and are related to a precise setting of the classroom, often rigid and formal.Experiential group is centred on the group: the group is time, tool, reason and mo-tivation, subject and object of learning. It is characterized as ean ducational project largely unstructured, dependent on what is happening here and now, the material produced by the subjects.

EMERGING METHODS AND SPACEFor their special relationship with space I would like to point out these emerging methods (as recent and quite a little adopted in Italy):a) outdoor developmentb) outward bound

Outdoor Development- Learning conditions entirely extraneous to the subjects and predominantly in “nat-ural areas” more or less hard, unwelcoming (es.mountains, forests, deserts and seas)- Learning tasks that are “real tasks” for real people in the real world and real con-straints: tasks mostly related to exercises of exploration and adventure or survival in the natural chosen territory.

The purpose of the proposed method are clearly those of a learning path from real-ity, but in extreme situations that requires a full involvement of the subject and in unusual conditions, such as to require the same subject the use of all its resources, research and active experimentation in the absence of stable and reassuring reference points.

Outward BoundThe aspect that interests us of this educational methodology is the attempt to break

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the boundary of the class and the classroom as traditional references of the educa-tional project and learning experience, expecting them to unlock at the same time the traditional patterns, rigid and ineffective in learning the new.Further feature is the dimension of the group: one group only in front of concrete problems can find out what is actually being a group.

KEY CONCEPTS TO SUM UPgroup/ experience/ activism/ imagination/ practical activities/ space shapes learning behaviours

The case studies here reported were chosen for their breaking with the academic learning methods and the importance assigned to the configuration of the space as a way to give freedom and flexibility of use and of movement which translates into a freedom of learning.

LISTENING

accademicism

Less

on

Lect

ure/ D

iscus

sion

Case

Group

of stu

dy

Simula

tion

Role-play

Experiential g

roup

activism

ENGAGEMENT

Quaglino, 2005

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MONTESSORI METHOD01/EDUCATION

“The school must permit the free, natural manifestations of the child.“

Maria Tecla Artemesia Montessori (August 31, 1870 – May 6, 1952) was an Ital-ian physician and educator, a noted humanitarian and devout Roman Catholic best known for the philosophy of education that bears her name. Her educational method is in use today in public and private schools throughout the world.She approached educating children as a scientist andusedtheclassroomasherlaboratory to observe children and find the very best way to help them reach their full potential. It was here that she developed what we call the Montessori Method of teaching.Montessori saw the chidren learnbestbydoing, and that happy-self motivated learners form positive images of themselves as confident, successful people. She cre-ated specilly designed resources to foster independence and a love for learning from an early age.

DIVERSITY IS RICHNESSThe mixed age group (vertical grouping) of each classroom enables children to learn from the environment and from each other.

IMAGINATION AND CREATIVITYMontessoriclassroomsarecarefullypreparedofferingchildrenopportunitiesforspontaneousengagementinactivities. Observations guide teachers in creating such learning environments.The Montessori classroom nurtures children’s imagination by providing many oppor-

Montessori, M., Anne E. George with an introduction by professor Henry W. Holmes of Harward University, The Montessori method; scientific pedagogy as applied to child education in “The children’s houses” with additions and revisions by the author , Frederick a. Stokes company, New York, 1912

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tunities for exploration, representation and creativity in all areas of the environment. Montessorians believe that all such activities foster creative thinking and support the unique nature of all human beings.

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STEINER SCHOOL02/EDUCATION

“The imagination is the heart of learning.“

Waldorf education (also known as Steiner education) is a humanistic approach to pedagogy based on the educational philosophy of the Austrian philosopher Rudolf Steiner, the founder of anthroposophy.Learningisinterdisciplinary,integratingpractical,artistic,andconceptualele-ments.Theapproachemphasizestheroleoftheimaginationinlearning,devel-opingthinkingthatincludesacreativeaswellasananalyticcomponent. The educational philosophy’s overarching goals are to provide young people the basis on which to develop into free, morally responsible and integrated individuals, and to help every child fulfill his or her unique destiny, the existence of which anthroposo-phy posits.Schools and teachers are given considerable freedom to define curricula within collegial structures.

PEDAGOGY AND THEORY OF CHILD DEVELOPMENTThe structure of the education follows Steiner’s theories of child development, which describe three major developmental stages of childhood, each having its own learning requirements, as well as a number of sub-stages. These stages are broadly similar to those described by Piaget.Inearlychildhoodlearningislargelyexperiential,imitativeandsensory-based.Theeducationemphasizeslearningthroughpracticalactivities.During the elementary school years (age 7–14), learning is artistic and imaginative, and is guided and stimulated by the creative authority of teachers. In these years, the approach emphasizes developing children’s emotional life and artistic expression across a wide variety of performing and visual arts.During adolescence (age 14-19), the emphasis is on developing intellectual under-

Uhrmacher, P. Bruce , “Uncommon Schooling: A Historical Look at Rudolf Steiner, Anthroposophy, and Waldorf Education”, Blackwell Publishin, Winter, 1995

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standing and ethical ideals such as social responsibility to meet the developing capac-ity for abstract thought and conceptual judgment.Waldorf education realizes an unusually and perhaps uniquely “complete articulation of an evolutionary developmental curriculum and creative teaching methodology.”Itsmethodologyencouragescollaborativelearning.

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JEWISH METHOD 03/EDUCATION

“Education is experience. Everything else is information.”Einstein

Experential jewish learning (which is under the umbrella of informal education) is rooted in a belief that the experience is central to the individual’s development.It involves three distinct initiatives: recreation/socialization/challenge.Experientialeducatorneedtomotivateindividualstostretchbeyondtheircom-fortzoneandcreativelyexplorea variety of Jewish mode of expression.

CREATING EXPERIENCESExperiential Jewish educators have the ability to transform routine activities into in-novative and inspiring experiences not only in the classroom, but also in the context of Shabbatonim, summer camps, retreats, Israel trips, youth programs, service initia-tives and more.The success of Experiential Jewish Education is ultimately determined by the quality of its experiences, which must be engaging, fun, innovative, and infused with Jewish content based on deliberate curricula. Whatmakestheseexperiencesextraordinaryandcaptivatingisthattheycare-fullyutilizeenvironmentandspace,stimulateallsensesandengageavarietyofintelligences. Informal education is often thought of as taking place spontaneously as the educator seizes on a teachable moment to impress participants with his/her deep Jewish com-mitments. While informal educators do need the skills to seize upon such moments, Chazanemphasizesthatmuchoftheworkofinformaleducatorsinvolvesseriouspreparationtostructuretheenvironmentsothatthespontaneouscanoccur.

Chazan, B. (2003). The philosophy of informal Jewish education. The encyclopedia of informal education Retrieved September 1st, Israel Experience Inc, New York, 2006

Chazan is Director of the Master of Arts in Jewish Professional Studies Program and Professor of Jewish Education at Spertus. Dr. Chazan is an internationally acclaimed Jewish educator who has taught at the Hebrew University of Jerusalem and at major universities in North America. He earned his EdD at Teachers College, Columbia University, New York, and has served in important professional capacities with the Melton Center for Jewish Education at the Hebrew University, the Jewish Community Centers Association, and Birthright Israel. He is the author of a range of books and articles on formal and informal Jewish education.

What appears as magic moments result from good educational planning by seasoned professionals.

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EDUCATIONAL KINESIOLOGY04/EDUCATION

”The movement is the door of learning”P.Dennison

HISTORY & BRAIN GYMWhat became the Brain Gym program began with Paul Dennison’s work as a pub-lic school teacher and reading specialist in the 1960s, researching more effective ways to help learning disabled children and adults. At that time, he worked in East Los Angeles with the innovative educator Dr. Constance Amsden, Director of the Malabar Reading Project for Mexican-American Students, which focused on the development of individual sensory modalities (visual, auditory, and tactile skills) for reading instruction. In 1975, at the University of Southern California, Paul received the Phi Delta Kappa award for Outstanding Research; he was granted a Doctorate in Education for his research in beginning reading achievement and its relationship to cognitive development and silent speech (thinking) skills. His familiarity with re-search from behavioral optometry and sensorimotor training that showed the effects of movement upon learning “ . . . led him to extrapolate this information into quick, simple, task-specific movements.In the early 1980s, Dr. Dennison began a teaching and writing partnership with Gail Hargrove, later to become Gail Dennison. They call their field of study, which they founded during this period, “Educational Kinesiology” (Edu-K). They define Edu-K as“learningthroughmovement”.

The Brain Gym program is based on the claim that learners carrying out specific Brain Gym movements prior to a learning activity can improve stability, mobility, and/or sensorimotor coordination. In turn, these motor skills support ease of learn-

source:“Edu-k for kids “the basic manual on Educational Kinesiology® , Paul e Gail Dennison, 1984;Carla Hannaford ,“Smart moves” why learning is not all in your head ,, 1995 Great River Books - le basi scientifiche del Brain Gym®

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ing.The Brain Gym activities have been incorporated into many educational, sports, business, and seniors programs throughout the world. They are also widely used in British state schools.

LEARNING AND MOVEMENTSFor Dennison learning is a spontaneous process.When the context is favorable the innate ability of the person guarantees during learning situation: enthusiasm, appropriate concentration, ease of understanding and sedimentation.The flexibility and ease of movement typical of children demonstrate their neurocog-nitive characteristics: children instinctively know how to learn. They’re able to store huge amount of information and to put them into practice congruently if the envi-ronment meets certain characteristics with no obstacles . Wherethereisfreedomofmovement,communicationandexperimentationfirsthandthenlearningoccurseasily,quickly,nicelyandpermanentlysettlesinlong-termmemorywithouttheneedofadditionalrepetitions.

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RESUME EDUCATION CASE STUDIES

/ SPACE MATTERSThe space reflects the teaching philosophy of these schools. Learning environments are carefully set to encourage exploration and experimentation. Classrooms are equipped and designed to encourage the free flow of spontaneity and engagement with the activities.

/ EMOTIONEmotional involvement activates a brighter learning process, participation and devel-ops reasoning skills and autonomy.

/ CHALLENGE & IMAGINATIONChallenges and exercises out of our comfort zone trigger our creativity in order to explore new opportunities. Imagination is a resource and analytical skills are not the only intelligences we need.

/ WE-LEARNVertical groups (group of mixed age people), collaborative learning and socializa-tion play a positive role in education and learning. From each other we can exchange points of view, widen our perspectives and opportunities of understanding.Through confrontation we learn more, also in a more effective way.

/ MOVEMENT Ease of movement helps and supports learning process which is a spontaneous since we were child. Long-term memory in particular benefits from freedom of movement, communication and experimentation.

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“Make an empty space in any corner of your mind,and creativity will instantly fill it.”Dee Hock

3.2.2 SPACE00/ What is a space?• definition• space design• learning space• co-design space

01/ D.School02/ Placemaking03/ Coworking04/ Offices05/ (laboratory)

The research streams on education highlighted the link between space and empower-ing of learning process and that engagement passes through the creation of an experi-ence that triggers the senses and movement, not only the mind.Space is a valuable tool that can help you create deep and meaningful collaboration in your work and life.I this section I want to understand more in detail how a space is built, organized, communicated.

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WHAT IS A SPACE?

These definitions comes from The New Oxford Dictionairies (British and World English).

noun[mass noun]1a continuous area or expanse which is free, available, or unoccupied: a table took up much of the space• [count noun]: we shall all be living together in a small space he reversed out of the parking space• [count noun] an area of land which is not occupied by buildings: she had a love of open spaces (also commercial space) an area rented or sold as business premises.• [count noun] a blank between printed, typed, or written words, characters, num-

bers, etc..• [count noun] Music each of the four gaps between the five lines of a stave.2the dimensions of height, depth, and width within which all things exist and move: the work gives the sense of a journey in space and time• (also outer space) the physical universe beyond the earth’s atmosphere.• the near-vacuum extending between the planets and stars, containing small

amounts of gas and dust.• Mathematics a mathematical concept generally regarded as a set of points having

some specified structure.3 an interval of time (often used to suggest that the time is short considering what has happened or been achieved in it): both their cars were stolen in the space of three days4 the amount of paper used or needed to write about a subject: there is no space to give further details

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• pages in a newspaper, or time between television or radio programmes, available for advertising:

it is the media person’s job to buy the press space or the TV or radio spots5 the freedom to live, think, and develop in a way that suits one:a teenager needing her own space6 Telecommunications one of two possible states of a signal in certain systems. The opposite of mark1.

verb1 [with object] position (two or more items) at a distance from one another: the poles are spaced 3m apart• (in printing or writing) put blanks between (words, letters, or lines): (as noun spacing) the default setting is single line spacing2 (be spaced out or chiefly North American space out) informal be or become eu-phoric or unaware of one’s surroundings, especially from taking drugs: I was so tired that I began to feel totally spaced out I kind of space out for a few minutes

Derivativesspacernoun

OriginMiddle English: shortening of Old French espace, from Latin spatium. Current verb senses date from the late 17th century.

1 Sanders , L., Experiencing, exploring and experimenting in and with co-design spaces”, Maketools, 2011

DESIGN SPACE

Design space1 refers to at least three quite different definitions or interpretations: the experienced physical space, the current work and the future situation of use.

a. the experienced or practiced physical design space in which, and with wich, the design work takes place. This includes the materials/props that are present in the space.

b. the design space of the current participants in the design process and their prac-tice. This includes the proposals that are currently worked on, and other aspects of the current design work.

c. the design space of possible proposals that are imagined to work, that prospec-tives users and other stakeholders would find meaningful. This is sometimes caled the solution space. This category of space is located in the “future”.

LEARNING SPACE

In an era of increasing openess, transparency, and interconnectivity, strenghthening and developing our institutions to accrue and share knoledge is more important than ever. As the realm of work, play, and formal and informal education begin to link and mix, changing attitudes in both philosophical and architectural approaches to these spaces result in an exciting and extensive rethinking of our learning environments.

Everyspacecanbealearningspace. Whether we find ourselves in a classroom, laboratory, playground, art installation, or corporate headquarters, the architecture that surrounds us plays a crucial role in maintaining our sense of wonder and curios-ity long after childhood. Arguing for the incorporation of fun and active engagement within the learning environment, the case studies here selected reject insular educa-tional models that result limiting both spatially and developmentally.

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2 Ross Donaldson, Flexible Learning Flexible Working , 2006

The Changing Learning Paradigm by Dr Kenn Fisher2

PAST

/Teacher centred/Classes/Directive/Contact/Library/Exam assessment

/Student centred/Individual/Self-directed/Groups/Internet/Continuos assessment

/Experiental/Industry links/Social/Flexible/Multi-modal/Skills upgrade

PRESENTMODE I

FUTUREMODE II

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3 Borges, S., Klanten, R., Ehmann, S. , Life for learn/ New Architecture for Learning, Gestalten, Berlin, 2012

Differenteducationalexperiencesrequirearangeofspacethatencouragelearn-ingandsetacreativeandinquisitivemoodforstudentsofeveryageandinanyinstitutions.3

Whilst there may not yet be a universal movement towards ambient learning, there is a form of pedagogical shift occurring. In essence, this is from a teacher and curricu-lum centred delivery to a student centred problem solving, collaborative learning en-vironment. It is increasingly social in its form of exchange. Kenn Fisher has described this as an evolution from Mode I to Mode III learning as shown in his diagram. It’s an elegantly simple encapsulation of a powerful idea.

With the increase in cooperative design practices, it is time to consider the concept of co-designspace.Co-design space rely on the collective creativity of designers working together with non-designers, they deal with very complex challenges such as social change and or-ganizational transformation, and they often point to embodiments in the immaterial domains such as experiences and services.Before addressing the question of what qualities a co-design space should have it it is necessary to take a step back to understand how we got where we are.

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CO-DESIGN SPACE

“blogging, texting, podcasting, webcasting, metatagging” and formerly “browsing and surfing” back in the old days when “internet, world-wide-web and email” were new words … these new words and old words with new meanings have entered our language since the beginning of the information age.Explosions of new words in societies have always been associated with dramatic shifts in structure or thinking processes. (Ross Donaldson, 2006)

The presence of these words represents the phenomenal evolution of new ways of accessing and transmitting information. For the teacher, the big question in all this is how the process relates to the accessing of and to the generation of knowledge. As already said: information is not knowledge.Thus there are at least two key drivers for teachers to manage flexibility in their peda-gogical frameworks.Firstly these frameworks should facilitate more rapid acquisition and development of knowledge. Secondly, it is a simple and inescapable fact that their studentsarenolongerprogrammedtothinkinalinearway. Previously the knowledge was captured in a book and the teacher’s job was to facilitate the acquiring of the infor-mation therein and (hopefully) understanding it.Theteacherisnowfacilitatingthismappingoffieldsofinformationandtryingtohelpmanageitintoaframeforknowledge.

From the perspective of the space, this raises some confronting questions to be ad-dressed alongside the teaching method. Due to wireless, students can be accessing the information anytime, anywhere via laptops and PDA’s and soon perhaps using new tools such as e-paper. They don’t need any particular kind of physical space within which to get the information. And whilst there has been an explosion in new frame-works for what used to be called distance learning, there remains a strong belief in the value of the social domain of learning and physically locating that process in a

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4 Paper: “Education Futures”, by Ross Donaldson+Woods Bagot, 20065 Senior Lecturer, Faculty of Built Environment Art and Design, Curtin University and Artisitic Director BEAP, Biennale of Electronic Arts Perth

school or university.Sowhatshouldtheseplaceslooklikeandhowshouldtheyworktooptimizethefacilitationofthetransformingofinformationintoknowledge?Theyshouldlookanythinglikethetraditionalclassroom.If the information which used to be transferred to the student in the classroom can be accessed anywhere, then theprimaryroleofthespacesinalearningenviron-mentistofacilitateasocialexchangeamongstlearnersandbetweenlearnersandteachers.Flexibilitythusemergesasthekey.Flexibility in facilitating a variety of modes of social exchange, flexibility in responding to the particular needs of the relations between the participants and what may become a pattern of a relatively quick and spontaneous reconfiguring of these relations.4

“Westartedfromthedisciplinaryapproach,throughmultidisciplinarytointerdisciplinaryandtransdisciplinarylearning.Iaminterestedinhybridandambientlearning.”(Paul Thomas, 2006)5

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D.SCHOOL01/SPACE

“Space matters. We read our physical environment like we read a human face.“ (David Kelley, 2012)5

The Stanford d.school, founded in July 2003, is a space whose design has been refined over the course of six years to maximize the innovation process. Every wall, every nook, every connecting gizmo, every table, every storage cabinet, has been cre-ated with a grand, collaborative vision in mind.

Space matters. We read our physical environment like we read a human face.Conscious or not, we feel and internalize what the space tell us about how to work.To foster collaboration and creation we need to shift from ‘I’ space to ‘WE’ space where people can mix, absorve and evolve through new perspectives. One challenge is to equalize the respective status of students and teacher. With a boss or a professor standing at the head of the room people are recluctant to share their ideas. Reconfig-uring the physical relationship is a powerful signal that participation is truly wel-come.There’snotjustoneidealdesignforacollaborativespace.Thepeopleusingitshouldbeabletotransformbythemselves,movethingsaround,andcreatewhattheyneedfortheworkthey’redoingatthemoment.Spaceisavaluabletoolthatcanhelpyoucreatedeepandmeaningfulcollabora-tioninyourworkandlife.

Below we can find some insightful indications to consider when creating a collabora-tive space.-startwithwhatyouhave: visible signs of use and activity can encourage others to

5 Doorley, S., and Witthoft, S., Make Space: How to Set the Stage for Creative Collaboration, John Wiley & Sons, Hoboken, New Jersey, 2012

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participate-designwaystokeepourbodiesmoving: people negotiate status in space through posture and movement- planning spaces for varied learning styles-testrapidly your evolving ideas with real people-exposerawmaterials: making things precious locks them in too soon, short-cir-cuiting potential improvements.-continuoslyiterate,adapt,evolve: see the space as a way to change behaviors-eachpersonisastewardofthespace: they need to care for it, change it and hack it

William H. Whyte, The Social Life of Small Urban Spaces , Conservation Foundation ,New York, 1980

PLACEMAKING 02/SPACEA space is a physical description of a piece of land, whereas a “place” connotes an emotional attachment to the piece of land.

The concepts behind Placemaking originated in the 1960s, when writers like Jane Jacobs and William H. Whyte offered groundbreaking ideas about designing cit-ies that catered to people, not just to cars and shopping centers. Their work focused on the importance of lively neighborhoods and inviting public spaces. Jane Jacobs advocated citizen ownership of streets through the now-famous idea of “eyes on the street.” William H. Whyte emphasized essential elements for creating social life in public spaces

Placemaking is a people-centered approach to the planning, design and management of public spaces. Put simply, it involves looking at, listening to, and asking questions of the people who live, work and play in a particular space, to discover needs and aspirations. This information is then used to create a common vision for that place. The vision can evolve quickly into an implementation strategy, beginning with small-scale, do-able improvements that can immediately bring benefits to public spaces and the people who use them.

1. The community is the expert/ People who use a public space regularly provide the most valuable perspective and insights into how the area functions.

2. You are creating a place, not a design

3. You can’t do it alone/ A good public space requires partners .

4.They’llalwayssay,“Itcan’tbedone.”/ Every community has naysayers. When an

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idea stretches beyond the reach of an organization or its jurisdiction and an official says, “It can’t be done,” it usually means: “We’ve never done things that way before.” Keeppushing.

5.Youcanseealotjustbyobserving/Peoplewilloftengotoextraordinarylengthstoadaptaplacetosuittheirneeds.

6. Develop a vision/ With the people who live or work in or near the space.

7. Form supports function/ Keeping in mind active uses when designing or rehabili-tating a space can lower costs. .

8.Triangulate/Theconceptoftriangulationrelatestolocatingelementsnexttoeachotherinawaythatfostersactivity. For example, a bench, trash receptacle, and coffee kiosk placed near a bus stop create synergy because they are more convenient for waiting bus passengers and pedestrians than if they were isolated from each other.

9.Startwiththepetunias/Simple, short-term actions such as planting flowers can be a way of testing ideas and encouraging people their ideas matter.

10. Money is not the issue/ A lack of money is often used as an excuse for doing nothing.

11.Youareneverfinished/About 80 percent of the success of any public space can be attributed to its management. This is because the use of good places changes daily, weekly and seasonally, which makes managementcritical. Given the certainty of change and fluid nature of the use of a place at different times, the challenge is to develop the ability to respond effectively. A good management structure will provide that flexibility.

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COWORKING 03/SPACE

If you look up coworking in the dictionary it won’t be there. Dictionaries exist to provide a list of all the official words in a given language, along with their proper spelling and agreed upon definition, but people don’t agree on how to define it. So Clay Spinuzzi, an associate professor of rhetoric at the University of Texas at Austin made a 20-month study to try to tease out a single definition of what coworking is.

Coworkingspaceascommunitycenter.Mixed used spaces that exist to serve the local community. “The object was to work alongside, but not with, others. Conse-quently, both had quiet policies in their spaces,” writes Spinuzzi.

Coworkingascollaborationspace. “Unoffice” arrangements that “encouraged discussions; interaction between the coworkers.” Spinuzzi summarizes the object of these spaces as recreating “characteristics of the traditional office environment that independent workers may miss.”

Coworkingasnetworkinghub.Spaces that seek to foster “more active connections between coworkers, connections that could lead to working relationships between businesses—contracts or referrals,” writes Spinuzzi. “Their focus was on entrepreneur-ship.”

Some coworking spaces can be characterized this way but not all spaces fall into one of these three categories. A single coworking space will demonstrate aspects of all three of these categorizations, sometimes fluctuating back and forth in the same day.

Swarmsconcept. In contrast to traditional corporate teams—composed of people who work together regularly, often in the same location and under the same man-ager—swarmstypicallyencompassadiversegroupofprofessionalsandexperts

Miller, H., Coworking, Swarming, and the Agile Workplace. (paper), 2011

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whomaynothaveworkedtogetherbeforeandprobablywon’tworkasateamagaininthefuture.Swarmsformquicklytoattackaproblemoropportunity,thendissipateastheirmembersarepulledintootheradhocgroupsaddressingotherissues.For years, scientists have been studying“swarmintelligence”—the collective behav-ior of social insects like honeybees and ants—to better understand the mechanisms underlying the amazingeffectivenessofgroupsofindividualsinteracting“inthemoment.”

Whatrolewillthephysicalworkplaceplayinthistransformation?Physicalproximityandsocialawarenesstoeffectivecollaborationbecomekeyelements.A group’s successful performance is not strongly related to the average intelligence of its members, but rather to the way its members interacted and, in particular, to the even distribution of individual contributions to the group effort. Groups that did well were those that considered ”multiple perspectives”.In addition to new tools of mobility and the “socialmediamindset” that people bring to work today, there is a desire for the“acceleratedserendipity” and commu-nity that come with co-location. Coworking spaces are the first physical manifesta-tion of the net culture—a culture that values sharing, openness, and co-creation.

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6 Kevin Fidler is the editor of the eOffice blog.eOffice aims to provide one of the best collaborative work spaces in London, creating a business culture surrounded by technology and infrastructure conducive to co-working.

OFFICES 04/SPACE

The office environment directly influences employee satisfaction, creativity, and pro-ductivity. This trend gained momentum in the late 90s, with many tech companies being innovators not only in their product development but also in their workspace design (Kevin Fidler, 2012)6.Tech companies developed a reputation for building amazing workspaces, more like playgrounds that their employees could look forward to working in. And as a result, they attracted the very best and brightest — and got the most out of them, creatively.But recently, this mini-revolution has spread to many other traditional industries. Manylargecompaniesaremovingprogressivelytowardsopen,creative,andcol-laborativeworkspaces.

Deeper understanding of human behavior at work has a potential to deliver a death knell to the cubicle.Thedesignoftheworkplaceisthedomainwithinwhichindividualbehaviorsareeitherencouragedordiscouraged. Workplace is where a significant proportion of culture is formed and where teams engage in the process needed to deliver busi-ness results. Adiversityofspaceisrequired to fulfill work results in today’s complex business environment.

Flexibility, mobility, new technologies and communication are prominent features of SmartWorkingSpaces. They boast open structures and spatial flexibility and are inspiring, diverse and multifaceted.Versatileplacesforcommunication,cooperation,concentrationandrecreationarerequiredthathavethecapacitytoinspirecreativityandinnovate. The office becomes a living space, divided into a variety of zones and areas, similar to an urban landscape - perfectly tuned in to the specific work processes and day-to-day require-ments of Solution Workers.

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Here above an interesting classification of the features needed in an office environ-ment and its sub-division in three cathegories. My concept phase will be definetely on the track of the We-Places cathegory.

WORKPLACESThe ‘classic workstations’, used for concentrated work, teamwork, and management tasks. Space-efficient design, ergonomics, the capacity for individual organisation and a high level of functionality are fundamental to these areas. In many offices, work-places still accommodate the greatest area – hence the need for them to be intelli-gently planned and well-positioned in the open office.

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WE-PLACES ME-PLACES SUPPORTWORKPLACES

dedicatedfeatures needed in an office environment

shared

Think tankLibraryRecreationTouchdown

Meeting/conferenceLoungeSeminar/workshop

Reception areaCollaborationsStand up meetingCafeteria

Focused workTeamworkExecutive

ArchiveTechnical islandCloarkroom

www.bene.com

WE-PLACESTheyaredesignedforcommunalactivities,offeringtheidealenvironmentforcollaborationandcommunicationinavarietyofsettingsandcompositions.Theseareasincludemeetingandconferenceroomsaswellasreceptions,cafete-riasandlounges.Usuallylocatedintraditionalcentralzones,theseareareasforspontaneouscollaboration,stand-upmeetings,andpresentationspaces,plusworkshopsanddiscussionsinsmall,informalsettings.Theyarenotonlyacces-sibletoallpermanentandtemporaryofficeusers,butalsotovisitorsandguests.

ME-PLACESThese zones offer space for concentrated work and privacy - primarily in an open office. These spaces include areas such as Touch Downs for temporary workers or visitors, think tanks, libraries and recreation zones. Undisturbed, focused work is promoted through the enhanced sound insulation these areas provide.

SUPPORTThe support areas are centrally located and support the entire organisation. They focus on providing services and are available for all users.

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LAB+WORKSHOP SPACE 05/SPACE

“The courage to ‘leave crap the way it is”Dieter Roth’s

Art studio, labs and workshop space are interesting for their ‘work-in-progress’ na-ture: at the same time they showcase the activities carried on and the artifacts, maybe in a messy or temporary way but extremely lively that contributes to create and maintain a creative and industriousness tension in the air.Convenience, space usability and accessibility to the tools are the criteria that drive the space organization. Surfaces and object are often reinvented according to imme-diate needs. In this typology of spaces the average level of order to apply is: as much as needed.If the space is shared by multiple groups or classes is better to leave instructions about how to set and reset it.You should not be afraid to get dirty, but also it must be easy to restore some order.

Dieter Roth’s, article from New York Times, Design Fall Issue, 2010

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RESUME SPACE CASE STUDIES

Creative and collaborative teaching strategies are finally replacing the era of memori-zation and standardized testing. These case studies reveals an extensive global move-ment towards humanizing educational environments and establishing an experience sense of place as a crucial part of the learning process.The facilitation of different learning styles that integrate spaces for introverted and extroverted educational activities creates a fluidity within the architecture that allows for multiple levels of use and meaning. Broader definitions of what an educational space can and should look like continue to evolve as the learning process never stops, so new parameters are required to redesign and reframe educational spaces where both the mind and the body are triggered and inspired.

KEY CONCEPTSsense of belonging inspiringflexibilitymultipurposewe-placenetworkingtechnologymobility

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OBSERVATION ON FIELD

WORKSHOPS/ soges/ nh_energylab/ unione industriale

LAB/fablab

COWORKING/toolbox

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3.3 OBSERVATION ON FIELDFACILITATION INNOVATION WORKSHOPS01/ soges (x2)02/ nh_energylab03/ unione industriale

LAB + INTERVIEW04/operae05/fablab

COWORKING + INTERVIEW06/toolbox

During the exploring phase I had the opportunity to dig the “real” context.When designing a service, the possibility to meet and observe people where they live, work and socialize provides new insights and unexpected opportunities. If it is always true, it is even more true in my case where the context it is the space itself where people meet, think, create, learn.I put myself in the users’s shoes and spend a few hours with them to experience their activity firsthand. By immersing myself in the context, the aim is to gain empathy and come to under-stand the people I am designing for, both on a practical and experiential level. This understanding will help me in extrapolating the main issues I will have to consider with during the concept phase.

1 Stickdorn, M. and Schneider, J., This Is Service Design Thinking, John Wiley & Sons, Hoboken, New Jersey, 2011

3.3.1 SHADOWING

Gaining real-time service insights.

Shadowing1 involves researchers immersing themselves in the service context in order to observe the behaviour and experiences of customers, front-line staff or people behind the scenes.It is important to remain as discreet as possible to manage the ‘observer effect’, that is the influence the researcher may produce on the behaviour they’re observing simply by being present.Shadowing allows to spot the moments at which problems occur. Spending time within the service environments is the proper way to develop a truly holistic view of how the service is operating in the real setting. It provides an intimate understanding of the real-time interactions that take place between the various group and touch-points involved. Moreover shadowing helps in identifying those moments where people may say one thing, and yet do another.

MATERIALS

NotepadPenCamera

I was present at 4 sessions of Facilitating Innovation workshops and I was introduced to the participants as an intern, being there to assist, provide post-its and markers, and help if they need more explanation about any divergent technique they were requested to apply. This role allowed me to stay full-immersed in the context without arousing suspicions about the second task I was carrying forward simultaneously:

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shadowing them, observing and taking literally notes on any interesting elements I noticed. I recorded and took pictures for most of the time as if it was a given part of my internee duties to collect visual materials to build the report later and that was actually corresponding to the true. Being in such a privileged situation gave me free-dom of maneveur whilst the people involved in the workshop kept on their exercices at their ease.

Usually the people in charge to conduct the workshop session, which in this case is the facilitator, arrived in advance to prepare the materials and set the space. It is about defining how the space will be used, modify or maintain the layout of tables and seats, checking and ensuring the technological devices will be ready( projec-tor, audio connections, ...). Participants arrive in dribs and drabs and gather in the hallway or break area if any. Then they are invited to enter and the workshop session can begin.

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SOGES01/SAFETY ON WORK

ABOUT Soges acts in the national market on the consulting business, with private companies, public authorities, local agencies, health organizations and service municipalities; over the time it has strengthened its leadership in the system management area and in the training and development of human resources.SOGES S.p.A. manages technical assistance projects on behalf of various institutions (European Commission, Ministries) and economic co-operation projects financed by national and international donors (Ministries , European Union, World Bank etc.) in countries experiencing different economic situations, namely developing, emerging and transition economies, and supports Italian companies in the internationalization process of their businesses.

WHAT Theaimofthestudywastoinvestigatetheperceptionoftheselectedcompaniesaboutsafetyonworkplaceinordertocreateacomunicationmeta-planthatpro-motesacultureandencouragessafebehavioursonwork. The final objective of the workshop is to highlight the issue of security by encouraging a proactive vision of the companies to the problem in order to generate benefits for all stakeholders (internal and external).Trying to understand how the theme is internalized / felt by various stakeholders this study investigates the values, the explicit and latent needs, mental models, risk per-ception, language and linguistic codes used and interpreted, the various stakeholders who interact daily to promote safety in the workplace (RSPP, Management, Officers, Consultants, RLS, Employees, Employees first aid ...). Individual blocks and collec-tive experiences considered as obstacles have been also analyzed (objective, environ-mental, linguistic, behavioral).

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WHERESoges headquarter, Torino.

TYPOLOGY OF SPACEmeeting room/30 mq2

EQUIPMENT4 rectangular tables, 19 chairs, 1 vertical board with paper roll, 1projector, loud-speakers, 1 desk

WHENday:16th march 2012duration: 4 hours, from 9 am to 1 pm + coffee break at 11pm

WHOn° participants: 9n° men + n° women: 7+2Background partecipanti: safetyEspert: /Facilitator: 1

HOWTechniques: mind map, magic cards, chi-nese portrait, video projection, hidden structures, moodboardDeliverable: report

5 m

5,5 m

desktables

whiteboard

chair

screen

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/ Whiteboard not movable, too distant from participants. The vertical format is not suitable for mindmapping.

/ Tinker mixed material on the desk.

/ The space is very regular in every element and doesn’t suggest any possibility of active participation.The moquette and the comfy seats tend to keep the atmoshere quiet and almost whispered as in a library.

/ Very formal tag and cumbersome.

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/ Video projection. The more the video lasts in darkness the more the creative tension lowers.

/ Group at work. People tend to stay on the same side of the table to not have a reverse view of the materials.

/ Different layout setting of the tables.

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CONSIDERATIONS

The spaces were strongly characterized in corporate sense and the furnishing was typical office-like: regularity, formality, sense of framing.The atmosphere was very restrained. The participants at the beginning of the ses-sion were quiet and calm, almost detached. Once seated the feeling was that they could not move or change their place, everything was assigned, prepared and did not encourage the breaking of schemes. Involvement has increased with the proceeding of divergent activities.

The tables could be split and moved raising and repositioning them. Break the meet-ing -composition to have 4 smaller tables made everything more manageable and at a human scale. Within the same group, people tended to cluster at the same side of the table to be able to see the material in the same reading direction. This happened especially when there were many written text elements. In the presence of diagrams, maps and moodboards participants may instead arrange around the table.The small size of the room allowed limited room for maneuver, but it was neverthe-less sufficient for the type of activities practiced.

To present the works they were attached to the walls to allow a better visibility and then proceeded with the exposure what was done. The finishes of the room and the presence of the logo on the wall gave the impression to be undermining the estab-lished order of the room, despite having the entire wall available the moodboard were instinctively attached to the far end, as if they don’t want to grab attention while placing them centrally would have been more visible to everyone. It was that kind of space that is resistant to being contaminated.

The coffee break was held just outside the classroom where there was an anteroom with a small bar counter. It was time for socializing and relaxation. Some of the pas-tries were brought in the classroom at the restart of the workshop session and leaning directly on a group table.

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ENERGYLAB02/NHotel

Master of Comunication and Marketing of Renewable Energies, activated by Politec-nico di Torino and managed by Consorzio UNIVER in Vercelli.

ABOUTThe course is designed to meet the companies need to have professionals with multidisciplinary skills in a perspective of integration between communication and technical knowledge.The Master forms a mixed figure that combines technical and commercial expertise on renewable energy, energy efficiency and environmental sustainability addressing the needs of the market, the customers and sales techniques in a rapidly growing market that requires not only skilled designers, but also figures qualified with good communication skills who can promote the use of renewable energy sources.This professional role has also been designed with significant and consistent employ-ment prospects with the presence on the territory of the Pole of Innovation Enermhy renewable energy that includes more than 90 companies and four research organiza-tions.

WHATProposalforamarketingandcommunicationcampaigntosensitizeseparatingwastecollectioninVercelli.The project aims to define the concept, content, channels and “narrative” of a mar-keting campaign and communication that includes the involvement of users of the town of Vercelli.

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The project is structured in phases for a period of 4 weeks.1. Desk analysis 2. Field research3. Integration of the data and their interpretation4. Report writing5. Design concept and strategy6. Story-telling project

The five-days workshop held at the Nh in which I participated were about the final stages of the path, in more detail:5. Designing a marketing campaign and communication addressed to each category

identified (strategy, value proposition, concept, activities and content).6. Story-telling project (story-boards, mood-boards) for the story of the project.

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WHERENHotel, Torino.

TYPOLOGY OF SPACEpresentation room/52 mq2

EQUIPMENT7 rectangular tables, 19 chairs, 1 vertical board with paper roll, 1projector, loud-speakers, coat rack

WHENday: 6th September 2012duration: 5days ; from 9 am to 1 pm + coffee break at 11pm; from 2.30 pm to 5 pm

WHOn° participants: 16n° men + n° women: 6+10Background partecipanti: different disciplines, mainly from economics to engineerEspert: 2Facilitator: 1

HOWTechniques: brainstorming, story-tellingDeliverable: strategy campaign and visual

8 m

6,5 m

tables

whiteboard

chairs

clothes rack

/ Having a lot of neutral space allow you to fill it with your work-in-progress, move around and let the creativity to flow.

/ Floor as a displaying surface.It’s handy and let you literally have an overview while working at other issues./ Each group took the space they need. Students felt free to self organize.

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/ Break time outdoor.

/ The wall behind has been used as visual support.

/ Extra tables are useful to place bags, bottles and stuff. / Power sockets give continuity to the work.

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CONSIDERATIONS

Participants moved spontaneously in space, using it, they were not stiffened.The students knew each other, having shared a training course for a few months so there was no need for name tags.

They did not modify the position of the furniture but instead they moved around in the room a lot, from table to table and also they used in alternative way seats and tables: they sat on tables and on the back of seats as if it was a stool.The fact that the room was so bare, it gave way to better bring out the works they produced both the walls, but above the floor.

Water bottles, wifi, cables enabled the continuity of work; a direct access to an out-door courtyard provide a space to have a break time to time.

There was a good exchange and sharing of informations between groups while main-taining the main focus on their own project. Instead of being dispersive, the environ-ment being so large, enhanced a good free productive flow.They gather around the board for visualizing ideas, then they detached the paper sheet and immediately put it on the floor. The different sheets could be moved easily to change the sequence, without the inconvenience of attack-detached with tape if they were attached to the walls. It was a sort of circle of actions.There was a good pace of work, concentration and a productive atmosphere.

SALESCULT03/SKILLAB

ABOUTSalelscult is a training course offered by Skyllab, the training force of the Unione Industriale di Torino, dedicated to studying issues related to the “Culture of sale”, capable of generating value, innovation and personal development with great results for organizations. It is though for the increase need of people who can not only sell new products and new business, but also to generate new ideas with respect to a clear vision for the future of your business.The multidisciplinary making the course ideal for those who want to have an innova-tive approach to the market taking into account all the variables involved: the glo-balization of markets, more demanding customers, the economic-financial evaluation of the customer to the business of intangibles, the importance of communication behaviors in the sale, through the awareness of their negotiating style and intercul-tural awareness.

WHATAt the end of the course there will be an analytical and creative workshop conceived as an instrument of “SalesCult” to outline current and future scenarios identifying what are the relevant factors of sales in the current competitive environment.It promotes, through effective and involving techniques the generation of ideas and the management of the business process.

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WHEREUnione Industriale, Torino.

TYPOLOGY OF SPACEmeeting room/56 mq2

EQUIPMENT12 rectangular tables, 28 chairs, 1 verti-cal board with paper roll, 1projector, loudspeakers

WHENday: 21st June 2012duration: 8 hours, from 9 am to 5 pm + coffee break at 11pm + lunch at 1 pm

WHOn° participants: 16n° men + n° women: 11+5Espert: 1Facilitator: 1

HOWTechniques: mind map, magic cards, chi-nese portrait, video projection, hidden structures, moodboardDeliverable: report

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5 m

tables

whiteboard

chairs

10 m

2 m

3 m

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/ Tables were strongly linked, itwasnotpossibletomodifythelayoutoftheroom so all the groups were aligned in a row./ Themoredistanttheparticipantweresitting,themoreitwasdifficulttofollow, dare to make questions and read the whiteboard./ Bags leaned on the floor and coats hunged on the backseats tend to conno-tate the assigned place as personal and discourage to sit somewhere else during the workshop session which would help socialization and flow of ideas./ Asmalltableworkwellwithsmallgrouptofocus the attention on discus-sion, it anyway should has enough space for a A1 paper sheet./Extra tables has been used as ‘tinker gather point materials’.

FROM RIGIDITY

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/ Instrumental music with was played during moodboard creation tocreateabusynessbutfancymood./After some divergent exercices the participantsstarttobeatease, between them and in the space and move around, sticking their works, taking pictures and look around for tools instead of asking permission to do anything like at the start of the day.

INVOLVEMENT

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CONSIDERATIONSThe room was very large, but its use was strongly bound by the impossibility to di-vide and move the tables because they were firmly attached to each other.The U configuration reminded of business meeting situations and did not help to develop an informal atmosphere free from schemes to better participate in different divergent exercises. The personal effects (bags, jackets) were left on the floor, on extra chairs or hanging on the chairs one was sitting on, increasing the attachment of each to their assigned place. It was objectively difficult for those who were at the bottom of the room to follow and take notes. I was sitting at the bottom, at the desk of the post-it and pencils so I noticed a couple of times repeated attempts to draw the at-tention of the facilitator to ask questions or speak, but then the participants being not heard felt were discouraged and gave up. With the start of the group activities (3-4 people for every group) the situation has improved, half of the people have had to move to join the other half of the participants at the other side of the tables, peo-ple have found a closer confrontation dimension, moreover they were already better acquainted with each other. The tinkering material (post-it, pencils, color, scissors, glues) was placed on the tables at the end of the U; every group received a number of post-it and colors at the beginning of the exercices, once finished they could refur-nishing by themselves.The coffee break occurred in an adjoining room where there were round acid green tables and a couple of coffee machines. Others took the opportunity to make phone calls and check email. At the restart of the session the atmosphere was much more active and the collective involvement higher. When creating moodboards classical music was turned on and it helped to maintain a good level of creative tension and awake the souls. To present their works the class collected in front of the wall of a sort of niche in the classroom and created a sponta-neous auditorium arranged in a semicircle.The experience of the workshop was seen as positive proof of the fact that many participants took photos of their work and of the classroom, proud to have contami-nated the space that was no longer anonymous, now it was ‘their’ classroom.

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3.3.2 INSPIRATION IN NEWPLACES + EXPERT INTERVIEWS

“To get a fresh perspective on your research, shift your focus.”IDEO Toolkit

INSPIRATION IN NEW PLACESThis method belongs to the HCD (Hear Create Design) toolkit by Ideo. It is meant to explore experiences similar to the one you are working on, but in a dif-ferent context or topic area in order to find inspiration in new places. Steps:1. Think about all the distinct activities, emotions and behaviors that make up the

experience I am researching. List these together. Write them on flip boards and put them up on the wall.

2. Next to each activity, feeling or behavior, write down a few other areas or situa-tions where this exists.

3. Choose among these the situation I would like to observe for inspiration and arrange for an observation.

4. During the observation, take pictures and notes of the experience.5. After the observation, examine what this experience was like and what I learned

that could be applied to my Design Challenge.

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I selected the coworking space and the lab space for my observation on the field because they include other situations listed, the lab would be interest-ing to see how they organize the space and the coworking reality for what concerned the relation an social aspect. Events, presentations and people working in the coffee area enriched the way the space is used and enjoyed.

LABORATORY

COWORKING

After the selection in the next step I arranged an appointment at Fablab and Toolbox coworking. Both of them are located in Torino, we can say that Fablab is hosted in the Toolbox building and together they represent a hub of innovation and creativity. People working there are very friendly and willing to help so I ask if it was possible to have an interview, too. They said yes.

EXPERT INTERVIEWS

Others may have already done research relevant to my project. Experts can help me to learn about the history and context of a particular community or topic, under-stand the regulations that might affect design and implementation of solutions, or provide me with information about new or developing technologies.

“If you need lots of in-depth or technical information in a short period of time, consider engaging an expert to supplement your primary research.”IDEO Toolkit

IinterviewedEnricoBassiforFablabandAurelioBalestraforToolbox.I contacted them through email introducing myself and the research I was doing. I attached the questions I meant to ask to give an idea of what they should expect with pictures showing some workshops of Facilitating Innovation. They also gave me the possibility to do an online interview but I choose the face to face interview which is more effective because sometimes written question may be misinterpreted so I can give immediate explanation, moreover is possible to ask something more going deeper if new paths appear meanwhile. I recorded the interviews to listen again later as much as I need, this allow me to be more relaxed without the worry of missing some word or concept and my interviewee was more at ease too, the atmpsphere was very friendly.

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Once arrived at Fablab and Toolbox I first made a tour of the spaces, while I was waiting to be received, then I interviewed the experts. Finally I took pictures for a last tour before leaving.Questions were quite open on purpose to let them expressing every thoughts or as-sociations it may come to their mind.

EXPERT

INTERVIEW KIT

notepad + pencameravoice recorderquestions+FI pictures

1 http://arduino.cc/

OFFICINE ARDUINO/ FABLAB TORINO with ENRICO BASSI

ABOUT Officine Arduino Torino is a combination of Makerspace, Fablab and an Arduino “office” dedicated to further the development of the platform and open source hardware.Officine Arduino is born out of the experience of creating the first FabLab in Italy during an exhibition that lasted throughout 2011. Thay experienced the posi-tive energy that came out of the encounter between the local community of makers, students, designers and their team based in Torino. After the exhibition shut down they though that Arduino could act as an “incubator” to empower the people they work with to setup a company that would share their resources and equipment with the local community. Luckily they found the amaz-ing people at Toolbox co-working who provided them with free space within an old FIAT factory.Officina means “workshop” and in Italian it has the vintage sound of the name given to those small companies that made amazing products with limited resources and a lot of ingenuity.They wanted to see what comes out when you connect open source hardware and software, digital fabrication, maker culture, hands-on learning, open design, alterna-tive business models, co-working and a great community.1

SPACEThe fablab space consists in three main areas: the laboratory where the members can work on their projects, the room of the machines (lasercut, 3d printer and various ttols), the training room for courses and presentations. The environment is messy but in a lively way, communicating that something is definiting going on.

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EXPERT INTERVIEWEnrico Bassi is coordinator at Fablab as well as a 360° designer.I report the most interesting findings that came out. We were sit on two comfy couches in a corner of the laboratory room.

SPACE / What is a space for you?This is a metaphisical question! Everythingisconnected.Especially when you have a smallspace it becomespolifunctional.So the classroom in which you have courses one day, the next day become the joinery. Apartfromthecaseswhereitisnotpossibletomovethings,youtrytodesignflexiblesolutions.For example the tables you see (the yellow ones) have one detachable leg while the other is foldable.

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“Especially when you have a small space it becomes polifunctional.”

“The space hasto self-explain.”

“You try to design flexible solutions.”

/training class or event buffet? both!

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“Usually it works for empathy.”

“We have set a coffe and tea zone, but it is going to move at the entrance to create a welcome area.”

“The problem is that people tend to believe that I am the master of the fablab and they ask me for rules, asking permission to do things.This fact is counterproductive.”

/Enrico Bassi speaking about Fablab space

“People that frequent a place are fundamental. They trigger positive processes, not only ideas but also behaviors.”

INVOLVEMENT /HOW TO BREAK THE ICE, MAKE PEOPLE FEEL AT EASE?

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INVOLVEMENT / How to break the ice, make people feel at ease?It is not easy. There are 2 fundamental aspects typical of the world we were born in.On one hand there is the perception that the things you do don’t have any conse-quences, so if you overturn something, you know someone will fix it because it is part of the service you buy. On the other hand there is the sensation of not being a host: “I come here, I do not touch anything, I do not disturb.”Creating something for society, open to people and meanwhile respectful is quite difficult.Usuallyitworksforempathy.If you arrive here and nobody is doing anything you won’t do anything. While if you find a noisy messy room then you probably do whatever you want without clear out. Especiallyfornewspaces,thethingIsawmosteffectiveistheemulationofexpertpeoplealreadythere.We created the Host figure who come here to use the machines for his own projects and meanwhile if someone has any question or need he can help. In this way there are more reference people.TheproblemisthatpeopletendtobelievethatIamthemasterofthefablabandtheyaskmeforrules,askingpermissiontodothings.Thisfactiscounterpro-ductive.There is not the perception of the community.

ENERGY AND BEHAVIOUR / How they depend on each other?Thepeoplethatfrequentaplacearefundamental.Theytriggerpositiveprocess-es,notonlyideasbutalsobehaviors.The space is kind of selfselecting the people.About rules, there is a lack for the moment. The shared use of the space is based on common sense. It is partly because we are still few. Thespacehastoself-explain.

MUSIC / Does it help while working or it is distracting?By character I am not used to listening to music very much while working, but I’ve seen thatisaneedofmanywhentheyworktogether. They usually listen to the music from the laptop: playlist, youtube,..

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FOOD / Does it help to create relational moments? And to work? Did it influence the space layout?Foodisanthropologicallyfundamental.Itaggregatesalot,especially in Italy! People talk around food corner. Here we have set a coffe and tea zone, but it is going to move at the entrance to create a welcome area and here will be the technical area.I spend a lot of time at Fablab so I often have lunch and dinner here.

TECHNOLOGY / How devices modify the way a space is used and lived? Wifiislikeair, nobody saves locally anymore.Ifyouareaminimumequippedyoucanofferservices,for examples renting the space, in our case sometimes we rent the training room for presentations and events.

COLOR / If Fablab was a color!(He laughs) Well, the‘work-in-progress’color:yellowandblack.Or anyway, if there would be a color that represents thetemporariness, then it would belong to Fablab!

WORKSHOP / Here you can see some pictures of Facilitating Innova-tion, what should be the sensation entering that space?Thebrainstormingsensation:everybodycansaysomethinginterestingandnobodyiswrong.Whatrestrainthecreativityhereisthatpeoplethatcomeherehavethesensationtheirpersonalprojectsaremuchlessinterestingcomparingtothepotentialitiesofthespace.Sotheyhavetheinferioritycomplex.Thefailurefearisveryhigh,tobeseenstupid.Itlocksthecreativity,theydon’texperiment.

Whenyouenteratraditionalclassroomwithafrontaldeskyouimmediatelyknowthattheoneatthedeskhassomethingimportanttosayandtheonesittingatthebottomoftheroomistheretolistenbutnotnecessarilytospeak.

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The first idea that comes to my mind is that the perfect brainstorming room is made of exagonal cubicles where no one can see the others. So you can speak without see-ing their facial exspressions and you are not afraid to be judged.Otherwise if I am a dominant character and I agree or disagree with your ideas, you will read it on my face.Spacecanbedesignedfromthispointofview,tohelppeopletofeelmoreatease, to speak freely with someone that inspire me confidence before addressing the rest of the group, ex. nook, penumbra..no interruptions, boards along the walls..I am just saying random personal considerations.

We are done, thanks!

2 www.toolboxoffice.it

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TOOLBOX/OFFICE LAB AND COWORKINGwith AURELIO BALESTRA

ABOUT A community-driven shared working environment. At Toolbox independent work becomes social, dynamic, shared. Spaces for businesses, professionals and a new generation of freelancers, merging independence with cross-fertilization in a dy-namic and sustainable environment in the true spirit of coworking. Because working together is more fun and more productive than working alone.Toolbox offers spaces, services and solutions for independent work, in the middle of a strategic hub for the development of new professions and expertise in Turin. From individual workstations in an open-plan environment to team rooms for businesses, Toolbox offers a new pattern of working, meeting the demands of organization and flexibility, and combining the benefits of independence and sharing, to form an active community of freelancers, entrepreneurs, businesses and innovators.In keeping with this spirit of coworking, Toolbox organizes and hosts discussions and networking events on creativity, independent working and business innovation..2

SPACE / What is a space for you?Two former industrial three-floor buildings in the heart of Turin, with wifi through-out and a flexible system of personalized and shared services.A large modular structure combining workspaces and shared areas, also perfect for hosting workshops, events and functions.The facility has wifi throughout and an innovative open source IT system for simple and personalized management of all services.The spatial design concept for the facility is by Caterina Tiazzoldi, architect and lec-turer at Columbia University, New York.

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“The kitchen here is an aggregating place.”

“The meanings of a space must be consistent.”

“We tried to creategradients ofprivacy and light.”

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EXPERT INTERVIEW

Aurelio Balestra is Project Manager at Toolbox.We were sit on a sofa in the coffee area.

SPACE / What is a space for you?Aspaceislikeabody, it is difficult to establish where it physically ends and where it emotionally starts. Abodytriestokeepeveryelementinequilibriumandarmony: physical, psychological, social. Exposing itself to different stimuli.In Toolbox the physical dimension is important, in other coworking the focus is instead on the community, the network of members, and the space is there, but not necessarily experienced and used (they rent the space per hours, to have an idea of the average time spent there).Weshouldtakeintoaccountthesustainabilityoftheproject.Bettertoprovideintermediatesituations,whichoffermoreflexiblesolutions.As for the space in Toolbox we tried to create gradients of privacy and light.

FOOD / Does it help to create relational moments? And to work? Did it influence the space layout?Thekitchenhereisanaggregatingplace.We realized that it is not enough and we will move in the room next door, which is about 100 mq2. We intend to host courses and events, it won’t strictly be a renting space for party between friends but it aims to becomeaplacethatcreatesculturearoundthethemeoffood.Themeaningsofaspacemustbeconsistent.

PERCEPTION AND ENERGY/ Is there a leading sense in the perception of a space?(smell, taste, sound, view, touch)

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Intheseyearsitwasdoneagreatjoboflayeringofmeaningsandcomplexity.Rather than one sense prevailing it is about keepinganolisticvision.Thespaceshouldbemoldable because people use it in different ways. We try to make people knowing each other so they can feel at their ease, that they own the space. When you introduce two friends you are happy when you see they talk without your presence like longtime friends.Creatingtheconditionsisimportant.Thebigthemeisstayingtogetherandshare, from the individual consuption to the common good. There is a research for participation that led to the common good.

TECHNOLOGY / How devices modify the way a space is used and lived? Technologyhassubtracted, for example with the wifi there are no more network cables and the minimum necessary for presentations are the projector, microphone, speakers and a white wall.Youhavetocreatesomethingeasytouse,youcanchoosefrom,whichistrans-parent.Simple.

MUSIC / Does it help while working or it is distracting?It goes from one to many, since we cannot put a jukebox, each listens in his head-phones. One thing is to enter a situation (like a presentation, workshop or party), another thing is when you work from the inside.

COLOR / If Toolbox was a color!

Green: it is the color of sustainability. Itisacode.

We are done, thanks!

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“You have tocreate something easy to use, you can choose from, which istransparent.Simple.”

“You should keep an olistic vision.”

“A space is like a body”

/ The same space used in two different situations: a presentation in the top pictures, during a workshop in the bottom pictures.

TECHNOLOGY /HOW DEVICES MODIFY THE WAY A SPACE IS USED AND LIVED?

ANALYSIS

INSIGHTSGUIDELINESDIRECTIONS

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3.4ANALYSIS

3.4.1 INSIGHTS/ EDUCATION research streams/ SPACE case studies/ WORKSHOP observation on field/ FABLAB+TOOLBOX observation on field and expert interview

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EDUCATION RESEARCH STREAMS

Space mattersLearning environments affects the way we learn, it can help, support and stimulate our sensitivity, curiosity and creativity.

EmotionTo make something relevant to a learner, it should inspire an emotional reaction in the person.

Challenge and imaginationChallenges out of our comfort zone trigger our creativity and imageries open the mind in exploring new opportunities.

We-learnInstead of individual learning, collaborative groups and socialization play a positive role in education and learning.

MovementIt increases the ability to concentrate. Higher body temperature means greater blood circulation, which means more oxygen to the brain too.

SPACE CASE STUDIES

Sense Of BelongingEach person is a steward of the space: they need to care for it, change it and hack it.

InspiringAn environment rich in evocative objects and experiences engages our body and

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spirit.

FlexibilityConvenience, space usability and accessibility to the tools are the criteria that drive the space organization. Surfaces and object are often reinvented according to imme-diate needs.

MultipurposeA space for creative and participatory activities must integrate a variety of needs for communication, cooperation, concentration and recreation.

We-PlaceFor spontaneous collaboration, stand-up meetings, and presentation spaces, plus workshops and discussions in small, informal settings.Allowing sharing, openness, and co-creation bring out the amazing effectiveness of groups of individuals interact-ing “in the moment.”

NetworkingSpaces are made by people. The primary role of the spaces in a learning environment is to facilitate a social exchange amongst learners and between learners and teachers.

WORKSHOPS OBSERVATION ON FIELD

Sense of permissionParticipants need a while before being at ease in the space or someone that give them permission to use resources. They are used to refer to someone in charge.

Break coffee outsideA break from the workshop session to be perceveid as a real break has to take place

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outside the classroom. No matter it is the hallway or an outdoor courtyard, what matter is that it is in another space. Exit the classroom.

Food back in roomI often noticed that people after the coffee break bring the pastry left in the workshop space. Food create a welcoming atmosphere and give energy.

Surfaces are everythingWalls to display, floor to have an overview, boards to fix ideas, tables to discuss. Sur-faces and post-it are the fundamentals elements you need to support and visualize the creative processes.

Reconfigure the layout of tables and chairsDifferent activities required different configuration of the space: group works, exposi-tion, lectures. Moreover help to renovate points of view, give dynamism and refresh energy time to time.

Comfy chairs numb your thinking processCreativity is outside our comfort zone. Standing at attention keeps our mind active.

Basic space is okWe don’t need complicate or elaborate space to work creatively. Clean space, light and water bottles to start. Then setting the right atmosphere will do the rest.

Storage is neededPeople have personal objects, from bags, to coat and umbrellas. I need to plan where to store them because in any case they will find a place to store them (usually on the floor, extra chairs, windows shelves) creating confusion and occupying surfaces resources (see the Surfaces are everything insight written above).

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Equal distribution in spaceFind a way to allow everyone to take part actively to discussions, listen and see eve-ryone. Tables arranged in U formation or in rows are not the way. Circle or different heights may be.

Music keep the mood highDuring group generative exercices background music was appreciated. Instrumental music with no text are suitable as they are not distracting.

FABLAB+TOOLBOX OBSERVATION ON FIELD ANDEXPERT INTERVIEWS

Self-explaining spaceA space should self-explain its use to anyone enter it from the first time. Rules are needed but instead of written ones is better to integrate them in the space, from colors to the choice and organization of tools and furnishing.

FlexibilityFlexibility is the opposite of rigidity. An environment that supports creativity should be transformable and widen the opportunities of use, even the umpredictable ones.

PolifunctionalPolifuctional spaces to take in consideration different layers of meanings involved: activities, emotions, relations, productions of knowledge, basic needs (ex. food)

Emphaty/ ImitationPeople behave in a certain way in a space according to what this space communicates

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and to what others are doing in that space. Imitation was the first way we learn when we were child.

Coffee & teaA corner is enough for a coffee machine or a kettle and it is more friendly than a vending machine; it allows to work with more continuity in the same room or pro-vide a space to have a quick chat with others.

People are the corePeople with their actions and attitudes trigger positive processes, not only ideas but also behaviors.

Music in the flowIn common open workspace music vitalizes and may be a relational subject to speak on, but it could also be invasive if not all the people share the same music taste.

Technology = wirelessWireless is fundamental like air and technology devices are useful in so far as they reduce materials, like cables and infrastructures. About contents and data people increasingly save on external memories and no more locally on their computers.

ExpectationsMake people feel free to express their ideas and thoughts, no one is stupid or not smart enough.

Simple and intuitiveA workspace should be easy to use, clear and give you possibilities of choice in the way you use it.

1 http://www.hcdconnect.org/toolkit/en

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3.4.2 FIND THEMESAfter collecting notes and insights I applied the Find Themes1 method by Ideo Toolkit to map out patterns and identify guidelines indications for my project.It is thought for a design team not for a single designer, so I adapt this method for my case but the structure was respected.

“Finding themes is about exploring the commonalities, differenc-es, and relationships between the information you’ve gathered, in order to find meaning.”IDEO Toolkit

MATERIALSPost-it notesMarkers

DESCRIPTIONBegin by grouping data and sorting your findings into categories or buckets. Clus-ter related ideas into themes. Consider the relationship between them and look for patterns. You can group and re-group the data in different ways to help you identify opportunities.

1. Go to the wall or board where you have placed your key story and insight post-its and select the five most interesting quotes, observations and/or insights.

2. On a new board, sort these into categories or buckets, and then cluster the re-lated ideas into themes.

3. Look for patterns and consider the relationship between categories. Check to

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make sure the themes are at the same level and covering the same things. If a theme is too specific, find the bigger idea. If a theme is too broad or has too many different ideas under it, break it down into several buckets.

4. Try moving the post-its around to re-group the data in different ways. Get input from the team and/or expand to seek input from a broader group.

5. When finished sorting, give each theme a title on a new post-it. Make sure there is enough space between or below the different theme categories for the next step of identifying opportunities.

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WORKSHOPSPACEEDUCATION EXPERT INTERVIEW

2 see Placemaking/case study

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PROCESSI used a post-it for every insights I described in the previous paragraph writing the key-words on it and assigning a different color depending on the context I extrapo-lated them:• green/ education case studies• yellow/ space case studies• orange/ workshop observation• light blu/ fablab+toolbox observation and expert interviewThen I started to move the post-its trying to group them when there were common-alities. I repeated several times until the groups seemed coherent..The groups have been reorganized depending on their relations, also keeping in mind the triangulation principle of placemaking2.After some observation and reasoning I understood that the groups were about differ-ent qualities a space should have: emotional and functional ones.I highlighted in yellow the circles with a majority of ‘emotional’ insights concerning mood, atmosphere, energy while the blu was for circles with more practical insights related to physical needs about space and organization. I named them with the theme that came out: Inspiring, Music, Feel at ease, Snack&Coffee, Relation-Collaboration, Dynamicism, Flexibility, Technology, Needs, Self-explaining.It was clear since then that a good space must take in consideration both the func-tionality and the emotional side providing the right qualities to nurture relations and engagement of the people will enter it.Actually It is interesting to see how at the core of the Find Themes Board there is a cluster of post-its I named ‘relation-collaboration’ that focuses on people and their interactions. We can say that all the themes around are in function of this ‘relation-collaboration’ theme, working in sinergy and that they may be not perfectly designed individually but it is fundamental that they are designed to work well together.

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3.4.3 GUIDELINESFrom the themes I found I defined the guidelines of the project.Guidelines help in keeping the right directions and represents the values and qualities the space will embedded.

TOGETHERNESS

Support and ease social interactions, positive attitude and rich discussions.

SENSE OF BELONGING

Feel at ease, own the space, being part of it and not a guest, take care spontaneosly.

INSPIRING Trigger the imagination, the curiosity, wish to create, discover, share.

FREEDOM

Open the mind, the thoughts, welcoming sparkling proposals

FOOD IN & OUT

In the workspace and outside, in the break space. To recharge the body and the spirit.

SIMPLE & INTUITIVE

Don’t need to ask, self-explaining. Clear.

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BELONGING

INSPIRING

FREEDOM

DYNAMICISM

RECONFIGURABLE

FLEXIBILITY

SCALABLE

SIMPLE &

INTUITIVE

TOGHETERNESS

FOOD IN&OUT

emotional sphere

GUIDELINES OVERVIEW

equilibrium

functional sphere

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FLEXIBILITYTransformable, every new need is a new opportunity to reinvent creatively.

DYNAMICISMKeeps active your energy and thinking capabilities.

RECONFIGURABLEGroups work, presentations, lectures, dancing; few or several people.

SCALABLEManageable and feasible from small to big context.

3.4.4 DIRECTIONSWhich direction to take now? I searched for what is already existing, insightful case studies and trends that can help me with the project definition, collecting useful cues. I end selecting these three brief case studies that somehow develop interesting solutions in the field of learning+innovation+design thinking approach.

/ THINK CAMP the approach/ INNOVATION TOUR sharing experiences/ DESIGN THINKING FOR EDUCATORS tools + open community

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SPACEcreate

learn

support

+

+RESOURCES

EXPERIENCES

PSS DEFINITION

Inno

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THINK CAMP THE APPROACH

ThinkCamps are intense workshops designed to rapidly create a vision and a plan for large, complex change.ThinkPlace’s purpose-built Design Studio is a highly configurable set of spaces, populated with innovative design tools and facilities that allow for large group, small group and individual thinking and design.WhenaThinkCampneedstohappenelsewhere,ThinkPlacewillworkwithyoutofindasuitablespace,andtransformitintoanInnovationCampsite.http://www.thinkplace.com.au/dt_portfolio/thinkplace-education/

INNOVATION TOUR SHARING EXPERIENCES

Experience democratic education in action and discuss what you see. IDEA organizes education tours of innovative schools and programs around the country. Thirtyparticipantsspendtimeinfourschoolsdiscussingwhattheyareseeingwith other teachers, students, parents, school board members, business lead-ers, and policy-makers and IDEA facilitators.The Innovation Tours offer a place to really see and engage with what is happening in various parts of the U.S.http://democraticeducation.org/index.php/tours/

DESIGN THINKING FOR EDUCATORS TOOLS + OPEN COMMUNITY

This toolkit contains the process and methods of design along with the Designer’s Workbook, adapted specifically for the context of K-12 education. It offers new ways to be intentional and collaborative when designing, and empowers educators to cre-ate impactful solutions. Itisavailableonlineforfreeandcollectstoriesofhowthetoolkithasbeenused,triggeringavirtuoscycleofimprovementandservingaspointofreferencefortheteacherscommunity.http://designthinkingforeducators.com/

CREATETRIGGER SET4

4.1/ PROJECT DEFINITION

4.2/ TRIGGER SET: SPACES+TOOLS+RESOURCES

4.3/ SERVICE SYSTEM

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4.1PROJECT DEFINITION

4.1.1 VISIONThe Trigger Set is a product service system aimed at creating an inspiring training space where are mainly held collaborative and partecipatory workshops. This stimu-lating environment wants to break mental boundaries and encourage people to free their creative energy. It anyhow lends itself to broader educational context in which there is the need of realizing an engaging learning and shared experience, providing a flexible and lively framework.

HOWThe idea is to give educators, teachers, trainers, facilitators and any learning opera-tor a set of instruments, both tangible both immaterial that used in combination between them empowers the role of physical space as a tool to shape, trigger and support learning process and behaviours.

GENERATE A SHIFTFrom the research phase and case studies analysis what comes out is that educational paths are changing towards collaborative model and experimental approach. From elementary school to business master classes pupils and grown-up students are asked to work in group, brainstorm, discuss, make tries, explore and discover. The process itself plays a key-role in learning and it requests attention, the focus is not only on the final result.

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Nowadays, surrounded by technology and digital devices every day improved and so-phisticated, we are in a non-linear era, used to jump from a content to another with just one click. In the same way our mind and senses process and interiorize data in a ‘web’ way more than in a sub-sequential way.At enmity the classroom setting and furnishing has slowly been modified and still reflecting the model where the teacher is the master of knowledge from her desk and students passively absorb notions, take notes and repeat.TodeveloptheTriggerSetihaveworkedonthisgaptoachieveashiftfromthetraditionalpassivelearningtoacaptivatinglearningexperience. I like to use the word ‘experience’ which means a full-immersed situation and my ultimate goal is to boost the deplyment of creative minds.

4.1.2 BOUNDARIESKeeping in mind the guidelines of Scalability and Flexibility it was necessary to establish the boundaries of the project.The Trigger Set is thought for indoor context, it can be both a open space with no partition or a close room.It can fit an empty brand new space or find manageable solutions for already semi-furnished spaces.From the time perspective it can both be used for temporary and permanent setting.

IndoorAs it is has been thought primarily for classroom training, the assigned space for the activities of Facilitating innovation. The activities of the workshop sessions currently do not require iterations with the open environment so I narrowed the field of design to indoor also probably because the principal need would be finding solutions to encapsulate the open space to protect it from weather elements such as wind, rain, ... and within this space the same considerations / solutions designed for indoor use

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would propose again.

Temporary | PermanentThe Trigger Set intends to satisfy both temporary and permanent situations, for a wide range of contexts.It can be rented for events, exhibitions, conferences a few days or weeks. Be required for summer camps of few months. It may be purchased and installed permanently in schools, companies, educational spaces, .. wherever you take care of education and training ongoing and on-site.

Open | CloseOffices of big companies and coworking space par excellence testify the trend in re-cent years of the opening workspaces abandoning the previous setting in which each person is in his cubicle.During my research what was found was that the open is too open, people also need places to gather and where to have privacy. We are therefore in a transition phase in which we look for space configurability and adjustable control of opening and clos-ing over time.Trigger Set tries to be suitable both for more traditional closed spaces as conference room, meeting room, classroom, and open spaces without interior partitions such as open offices, more common than in the past in conjunction with the practice of industrial buildings recovery and repurposed.

Empty | IntegrateThe perfect starting context to install Trigger Set would be an empty space ready to adopt it and be transformed in the most engaging training space possible, but it works also on already semi-furnished spaces, filling the missing needs and function-alities without upset them but lending new meanings. This adaptability wide the scenarios in which the service can be requested.

TEMPORARY

EMPTY

INDOOR

OPEN

OUTDOOR

CLOSE

PERMANENT

INTEGRATE

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classroom

meeting room

conference room

open space

fair

barcamp

brand newneutral

semi-furnishedconnotate

events

conferences

exhibitions

summer camp

school

companies

training centre

barcamp

fair

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4.1.3 CONCEPTThe Trigger Set is made up 3 units: Spaces, Tools, Resources.

DESIGN CHALLENGEA learning space should be an environment that beyond physical qualities embedded also emotional qualities. It needs to become an immersive dimension that involves time, people and their relations. To better understand what I mean I will use as meta-phor the street performer.

HERE AND NOW: THE STREET PERFORMER METAPHORA street performer instantly can create a bubble around him, people first stop curious and then captured, there is a perceived boundary though it is not physically marked that represents its area of performance, the audience gathers all around, there is inter-action, involvement, exchange of energy, tension in the air. Atmosphere.At the end of the show, the artist collects his things into a bag, thanks and say good-bye. The street resumes its previous pace. The show is not inside the bag but it is made up of the whole of all the above elements, they create an empathic dimension that is also perceived by pedestrians passing by, they feel that something is happen-ing.Similarly the Trigger Set is conceived in three units that deal with the spatial, instru-mental, continuous improvement and sharing dimensions.

SPACES + TOOLS + RESOURCES

SpacesThe core unit is Spaces, where people work, talk, have a break, read a book. The Spaces unit approach the interior design and furniture as an interface to enable peo-

ple interactions, fostering collaborative attitudes and open mindset.

ToolsParticipate to a workshop requires first of all a positive and proactive attitude, then if there are the right tools everything is easier and enhanced.

ResorcesResources are available on an online platform to allow the deepening of the issues of learning spaces and the influence they have on concentration, attention and involv-ment. Since it is a theme that is arousing more and more interest and attention, it is useful to have a reference point. The intention is to have a vitual plaza to have con-versations and exchanges of views in order to improve the use of the Trigger Set.The Trigger Set infact finds its full realization when people use it, modifying, adjust-ing and changing.

Tools and resources complete and support the Spaces unit, being anyway available also individually or combined.

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SPACES RESOURCESTOOLS + +

/www.macmillandictionary.com/dictionary/british/trigger

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4.1.4 NAME GENERATIONTRIGGER SETThe name has been discussed a couple of times with Rebecca Pera, the reference for Xploralab. We start from the concept and values this product service system want to communicate. Its aim is to stimulate people pushing them out of their comfort zone, create a lively space, welcome the free expression of ideas. A list of words connected with these elements was written down and we tried to find a word that could be assigned to this semantic area. So we came up with Trigger!

TRIGGERtrig·ger /ˈtrɪɡə(r)/

1. to make something happena. to cause someone to have a particu-lar feeling or memoryb. to cause someone to do or say something: trigger a response/reaction2. to make a machine or piece of equipment start to work

creativityfreedom

ideaexpression

stimulithoughtenergy

entusiasmexchange

experienceinput

curiosityeureka!

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To complete the sense it was necessary something related to the physical space and in a broader way to the entire service, something giving an holis-tic perception and preferably with a short, nice sound.Another list of words was made and the final choice was to do between these three words: space-kit-set.Space is too focused on the space itself, the risk was that it would be percev-eid as an interior project instead of being a service. Kit was interesting as it gives the idea of a ensemble of thing coordinated between them, at hand and immediate, but maybe it would have produced a too instrumental feeling.Set was perfect because it both means ‘organized space popped up for a specific objective’ (for exemple a shooting set) and ‘set up’ in the sense of the action of assemble and erect.We then selected Set.

SETset / (set)/1. group of things2. group of people3. piece of equipment[...]

areadimensionexperience

toolinstrument

activitypop-up

SPACEKITSET SET UP

1. organize or plan something2. build something3. make something ready to use4. make something happen5. prepare someone for something6. put someone in power[...]

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4.2TRIGGER SET

4.2.1 COMPOSITIONThe Trigger Set is made up of three units.

SpacesThe core unit is Spaces which in turn includes the spaces of divergent space (crea-tive activities), relation space and inspiration space. Where the people meet, create, discover.

ToolsThe complete equipment a workshop session may need to write, stick, fix ideas, brainstorm, collect data, discuss. It includes the Tinker Kit, books and games.

ResourcesResources are available on an online platform to allow the deepening of the issues of learning spaces and also serve as a virtual plaza to exchange opinions. They are based on a blog, Pinterest and a TipsKit.

These three units can be used together as they complete and support each other but they can also be splitted.

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SPACES

TinkerKit Divergent Platform

Games Relation Pinterest

Books Inspiration FlashTips

RESOURCESTOOLS + +

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SPACES

Divergent

Relation

Inspiration

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4.2.2 SPACES Spaces, as the name itself says, are the physical spaces where the activities develop places, where the participants spend their time during the sessions of the workshops.A workshop is made of different phases and there are several factors at play that are intertwined, of practical nature on one hand and of emotional nature on the other.So what spaces? for what?To outline the key spaces and the requirements which must be satisfied providing them with appropriate functionality and equipment it was necessary to start from the primary needs. Taking into account the results of the research phase I enucleated these three needs:

CREATE + RELATE + DISCOVER

Create: Divergent SpaceCreate is what happens in the classroom, the space assigned to the exercises, presenta-tions, discussions, creation, in a spirit of collaboration, sharing and contamination.This space has been named Divergent because of the high level of creativity that wants to welcome.

Relate: Relation SpaceRelate takes place throughout the duration of a workshop but surely it finds a spe-cial dimension during the coffee break that detaches from the class environment, overcoming group divisions and you find yourself in a warm, friendly and relaxed atmosphere to comment, getting to know each other, have a coffee. It was natural to associate the Relational space to the break area or the so-called lounge area where there will be coffee tables and comfortable sofas to gather and have a chat.

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Discover: Inspirational SpaceFinally the discover. The discovery is the sparkling magic that allows creativity to flourish during and after the workshop experience.It is important to surround participants with clues, to encourage curiosity and pro-vide opportunities to deepen for those interested.

FREESTANDING AND RECONFIGURABILITYEach of these Spaces is formed by a central core of elements that responds to its primary need:a flexible and equipped space for the Divergent Space;a elaxing and informal space for the Relational Space;a space that tickle one's fancy for the Inspirational Space.Around these cores serve as corollaries other optional cores that respond to needs of second level.In the following paragraphs they will be described in detail with their interdependent relationships.

The Spaces as common traits they have the characteristic of being composed of free-standing elements having to be suitable for both close and open spaces with no wall and partitions in this latter case. In this way they are independent and ready for any context they meet.

Another important characteristic they have is the reconfigurability of their elements.The selected furnishing elements dont' have complex shapes but basic shapes, such as the square or the circle and their derivatives so that there could be an immediate visual reading by those who enter into these spaces. Elementary shapes seem familiar, they easily belong to a common shared visual dictionary. They intentionally want to appear as modules, made of clean lines, to move and arrange as desidered and depending on the situations.They are open objects that interact differently according on how they are placed

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and how they are used. They are like 'lego bricks': a set of basic building blocks with which to build everything else, remove and repeat each time with the same freedom of composition.

COLOR AS ACCENT1

Since the Divergent area is the space of potential where participants will saturate it with their artifacts, it must look like a blank page waiting to be filled. Visually neutral and clean. Furnishing elements have only touch of color to give a sparkle of liveliness and avoid the immaculate white sheet perception and the writer's block.Once decided how much color, the next step was to understand what colors to use, in harmony between them. Harmony is nature’s way of saying that two or more things together make sense. Color harmony represents a satisfying balance or unity of colors. Combinations of colors that exist in harmony are pleasing to the eye. The human brain distinguishes the visual interest and the sense of order created by the harmony and forms a dynamic equilibrium (Mahnke Frank, 1998)2.

The color wheel becomes the designer’s tool for creating the harmonies.To find a color harmony I used the analogous harmonies formula: analogousharmo-niesarebasedonthreeormorecolorsthatsitside-by-sideonthecolorwheel.The leading color is yellow, then I selected a fresh green and a light blue.

Yellow2shineswithoptimism,enlightenment,andhappiness. Shades of golden yellow carry the promise of a positive future. Yellow will advance from surrounding colors and instill optimism and energy, as well as spark creative thoughts. How the color green affects us physically:• Stimulates mental processes• Stimulates the nervous system• Activates memory• Encourages communication

1 The new Mobile Design trend - Colour, http://designmodo.com/mobile-design-colours: this article is about the use of color in mobile design, since Trigger Set transform the spaces into a a tool to shape the training experience, the space can be considered an interface where people interact, so we can apply the same principles of the article.2 Mahnke Frank , Effetti del colore nello spazio interno, in Il colore nella progettazione : l'uso del colore come elemento di benessere nella progettazione dell'ambiente architettonico, UTET, Torino, 1998.

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Green2occupiesmorespaceinthespectrumvisibletothehumaneyethanmostcolors, and is second only to blue as a favorite color. Green is the pervasive color in the natural world, the natural greens, from forest to lime, are seen as tranquil and refreshing, with a natural balance of cool and warm (blue and yellow) undertones. Green is considered the color of peace and ecology. How the color green affects us physically:• Soothes• Relaxes mentally, as well as physically• Helps alleviate depression, nervousness, and anxiety• Offers a sense of renewal, self-control, and harmony

Blue2istheoverwhelming"favoritecolor." Blue is seen as trustworthy, depend-able, and committed.The color of ocean and sky, blue is perceived as a constant in our lives. As the collec-tive color of the spirit, it invokes rest and can cause the body to produce chemicals that are calming. However, not all blues are serene and sedate.Electric or brilliant blues become dynamic and dramatic -- an engaging color that expresses exhilaration. Indigo, a deeper blue, symbolizes a mystical borderland of wisdom, self-mastery, and spiritual realization. While blue is the color of communication with others, indigo turns the blue inward to increase personal thought, profound insights, and instant understandings. Blue is the least "gender specific" color, having equal appeal to both men and women. How the color blue effects us physically:• Calms and sedates• Cools

TriggersSpacesaredesignedforaworkshopof12participants,1facilitatorand1-2experts.

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4.2.3 DIVERGENT SPACE Ideal space area40-50 mq2

MOODactive, freedom, brainstorming, buzzing, operative, fun

KEY-ELEMENTS: SURFACES + MOVABILITYFrom the reasearch phase I concluded that the key tool for a divergent space are sur-faces. They can be paper to sketch on, wall to stick boards, have a projection, white-board to write and erase mind-maps, even the floor to expose and have an overview. Surfaces serve to have drafts, visualize, show. They are everything.They can be disposable, write and erase, magnetic, as supports, room dividers.The Divergent Space provides for each group vertical magnetic write-erase white-boards, easy to handle. They immediately create niches of work and can operate either as a support for post-it notes, sheets, that to write on.For the facilitator is provided a horizontal whiteboard because he usually needs more space to be able to visualize and make a synthesis of the material produced.For the closed spaces, classrooms, there is a magnetic-board treatment for the walls creating a continuos writable surface. In this case it may not be required the horizon-tal board of the facilitator, gaining space.

The other key element is the movability represented by the casters: you can move everything and easily modify the spatial disposition for new layouts.They are intrinsically dynamic and communicate intentionality. They ask to be moved.

2 ssee Brain Gym case study, chapter 3

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SHAPE TABLE GENERATIONAll the furnishing were already on the market and selected when their characteristics fit the needs. The only piece I designed was the table of the Divergent Space.There were not suitable tables: that they were big enough for an A1sheet but quite manageable in space and not bulky. Combinable with each other to form larger surfaces.I preferred to work with a cozy, continuos curve line instead of an edgy polyline. The starting point was the round table shape which symbolizes equality for excellence. The final result reminds a drop shape or half of the yin and yang symbol, however two tables are not perfectly complementary because I want to mantain a certain de-gree of irregularity that must characterize the space, to break the schemes.

FOLDING CHAIRSThe chairs with casters can slide but they can't be closed, while the folding chairs do not slide but you can still move and fold them if there is the need for space.As in the guidelines there was also the dinamicism, too comfortable chairs, such as those on wheels, tend to keep you in a sitting position while the blood and also ideas circulate better when you are in a standing position2.

STATIONERY CARTWhere to store papers, colors, tools, TinkerKits (post-its, stattys, scissors, glues,..).

SNACK CARTTo have where to put water bottles, drinks, snack and cookies and recharge your energies.

LOCK BOXES/ optionalTo secure personal objects, useful in case of continuative days of workshop with lunch break, or crowded spaces for example in a fair context or didactic labs in muse-ums. They are optional.

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MATERIAL LIBRARY/ optionalA collection of different materials at hand to trigger the senses and curiosity and provide unusual materials to work with.

TECH BOX/ optionalA set of wireless devices of small sizes for minimal amount of space and big help.It has been created apart as optional because the central core of the Divergent Space may be installed in already equipped classrooms provided with projector and sound-speakers. It is instead thought for open spaces and workshops held in temporary contexts.

shape table generation

Divergent

DIVERGENT SPACE5 movable tables20 foldable chairs4 vertical movable boards1 horizontal movable board1 snack cart1 tinker drawers

OPTIONALcoat rackbin

Divergent

TECH BOX1 pocketable projector1 pair of loudspeakers2 microphones1 printer/scanner1 voicerecorder1 camera1 cam4 pivot

MATERIALS LIBRARYa collection of different materials

STORAGElock boxes

optionalcore space

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the walls are treated with a special paint

that transform them in write-erase

surfaces

5 m

8 m

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group work

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presentation

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4.2.4 RELATIONAL SPACE Ideal space area15-30 mq2

MOODrelaxing, friendly, soothingly

KEY-ELEMENT: CONFIGURABLE SEATSThe area is thought as relational lounge area where to refresh, chat, make some phone calls and check emails.During the research it was found that a break to be really considered as such should take place in another space, perceived as external to the work area (the Divergent Space in our specific case).It is well positioned in coffee areas, lounge areas, hallways, common areas while maintaining the ability to split a few seats and move them to the Divergent Space for a more informal working spot and have an element of diversification in the environ-ment.The C-shaped small tables are useful as support to consult phones, ipad and to temporarily place drinks.

To this core is possible to add on request the Bar Unit. It is the food unit par excel-lence, designed for outdoor use, and it is fully independent and movable. It inte-grates a fridge, stove and drawers. Compact and functional.

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Relational4 modular sofas2 coffee tables

+

BAR UNITfridge+stoves+drawers

optionalcore space

3 Learn for Life, Gestalten 2012

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4.2.5 INSPIRATIONAL SPACE Ideal space area4 mq2

The function of the library plays an integral role in one's learning process at any age. In spite of the evolving use of the library as it transitions into the era of online databases and archives, this learning typology remains an important space for developing knowledge and connections.It represents a model of exploratory learning that can continually grow and shift over time.3

MOODinspiring, captiving, pleasant

KEY-ELEMENTS: HORIZONTAL LIBRARY + CARPETThe Inspiring Space is special. Small but rich, it is the space of books and ebook readers. It presents a selection by Xplora-lab of the most interesting and updated books about topics of interest. This library displays aside from storage. It captures the curiosity and makes you want to pick up a book and leaf through it. The carpet helps to mark the assigned space, making it recognizable, an island where you can stop for a moment and have a look. The grass texture confers freshness and give the ideas of nurturing. Ran-dom foam cubes serve as seating. It Integrates easily into the Divergent and in the Relational Space, you can consider the Inspirational Space a wildcard that could complement existing learning environments.

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book displaygrass carpetfoam cubes

Inspirational

20016

m20 m

open space configuration

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TOOLS

TinkerKit

Games

Books

4 Service Design Thinking, 2011

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4.2.6 TOOLSThe Tools are mainly addressed to the Facilitator who has to lead the workshop ses-sion.Tools supports the activities, they are indeed essential for a good realization.Chazan says that what appears as magic moments is the result from a good educa-tional planning by seasoned professionals (Jewish Method, see case study).So having available selected tools ready to use helps to save time and energy and en-able to concentrate them on what really matters: the divergent activities.

TINKERKITIf we had to identify the process of divergent activities and design thinking with an object it would be for sure the sticky note.Sticky notes are a simple and quick tool to visualise processes, illustrate associations and relationships or provide mnemonics during co-creative processes. They can be iteratively moved, clustered, re-arranged. Sticky notes provide a visual support to keep track with this quick and iterative approach to development4. They are dispos-able and not precious, useful for the time they are expected to be.One TinkerKit is thought for the usage of two-three workshop session, for groups of 3-5 people. The TinkerKit is a collection of sticky materials, colors, scissors and glues.

BOOKSThe really distinguishing factor between organizations is culture. A col-lection of domestic and foreign books in the fields of social sciences, design thinking, innovation, creativity, methodologies, visual meetings, gamestorming.

GAMESA selection of card and table games for the generative design process.

5 Rovati, E.,"Point, a pss for user generated content in research for design" thesis6 Greg Costikyan, "I Have No Words & I Must Design". In Interactive Fantasy 2, www.costik.com/nowords.html, 1994

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Games for design: game dynamics have somehow been used for design tools, cards or table games are the most common shape for design games such as the famous Ideo Cards for designers, or group games for users involved in co-design sessions. These tools try to mix all the possible techniques for design process in order to give a less rigid path to the process. They work as stimula and guide, they try to give a shake. They are generally related to the generative phase, more than onto problem finding and setting.5

A game is a form of art in which participants, termed palyers, make decisions in order to manage resources through game tokens in the pursuit of a goal.6

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Books

Games

fields:social sciences, design thinking,innovation, creativity, methodologies, visual meetings, gamestorming.

A selection of card and table games for the generative design process.

Storming Innovation Gameby XploraLab

together or separeted

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Moodboard kit10 colors5 pens5 scissors5 glues

Sticky kit4 post-it blocks4 stattys blocks1 sticky dots set1 transparent tape 1 paper tape

TinkerKits

TRIGGER SET

TRIGGER SET

TinkerKits

TinkerKits

Sticky kit4 post-it blocks4 stattys blocks1 sticky dots set1 transparent tape 1 paper tape

Sticky kit4 post-it blocks4 stattys blocks

1 sticky dots set1 transparent tape

1 paper tape

Moodboard kit10 colors5 pens5 scissors5 glues

Moodboard kit10 colors5 pens5 scissors5 glues

together or separeted

together or separeted

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RESOURCES

Platform

Pinterest

FlashTips

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4.2.7 RESOURCESDuring the research phase the collection of information and materials related to the influence the space exercised on learning processes has been long and challenging. On one hand the bibliographic research, on the other hand the online research by keywords and by approximation, through which I have found documentation and related resources more and more appropriate.

The interest for the topic has been increased but it is still a young field of design, contributions and thoughts on the subject are scattered in the network in a non sys-tematic and organized way, especially papers and articles can be found in the history of a multitude of individual blog post or portals, usually ranging from the world of design, education, interaction, interior.It was therefore necessary not to waste these resources, but create a gathering place to collect and made them available to continue the path that is emerging.

PLATFORM /BLOGIt is intended to be a reference point from which to start and examine all the issues related to space as a tool to enhance and support learning and teaching experience.It shares contents, case studies and inspiring images. In this way it will keep track of the conversations taking place, from the buzz to institutional voices. A blog is easily manageable and if updated at least monthly it will become a dynamic resource, open to external contributions, in particular it aims to encourage consulta-tion and the exchange of ideas, comments and suggestions from those who use the Trigger Set. The navigation menu contains the following items:• intro: declaration of intents, presentation and contextualization • case studies: education, learnig spaces, creative spaces, workshop spaces, ..• tag cloud: easy navgation by key-words• Pinterest relink• flash tips: downloadable as pdf

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According to the amount how people will use the and follow the blog it will be evaluated whether it is necessary to move to a website more structured, but to begin a blog is functional and practical for the purpose.

PINTERESTPinterest is a pinboard-style photo-sharing website that allows users to create and manage theme-based image collections such as events, interests and hobbies. Users can browse other pinboards for images, 're-pin' images to their own pinboards, or 'like' photos. The Pin button is popular as the 'like' button of Facebook or the 'tweet' button of Twitter.For my research I created a Pinterest account where I collected all the resources I came across. Since the focus is on the space, a tool like Pinterest which has a visual approach was perfect to organize the materials and let you easily scroll through the images to understand what we are talking about, the mood, the colors, the spatial elements. Everything in a glance.We can consider it the visual archive of the blog.

FLASHTIPSA flashcard or flash card is a set of cards bearing information, as words or numbers, on either or both sides, used in classroom drills or in private study. One writes a question on a card and an answer overleaf. Flashcards can bear vocabulary, historical dates, formulas or any subject matter that can be learned via a question and answer format. Flashcards are widely used as a learning drill to aid memorization by way of spaced repetition.In our case they are a set of easy tips to improve the quality of perception and func-tionalities of a training or learning space. It is conceveid to be open and to grow over time as people using the Trigger Set submit suggestions.It is provided as printable pdf, downloadable from the blog.

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articles, comments, research materials, FlashTips, videos on collaborative workspaces and learningenvironments

scrool throughthe boards tofind inspirations

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Everything can happen.Communicate this potential in the space leaving some free elements that can be manipulated or

modified. Or unexpected things, like a kaleidoscope!

TriggerSet

frontdownloadable and printable from the blog

back

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7 Stickdorn, M. and Schneider, J., This Is Service Design Thinking, John Wiley & Sons, Hoboken, New Jersey, 2011

4.3SERVICE SYSTEM• PERSONAS• SYSTEM MAP• BUSINESS MODEL CANVAS• SWOT

4.3.1 PERSONASPersonas are fictional profiles, often developed as a way of representing a particular group based on their shared interest. They represent a "character" with wich client and design teams can engage.Effective personas can shift focus away from abstract demographics, and towards the wants and needs of real people.; personas are a collation of feedback elicited during the research stage of a project.7

I developed personas from research insights gathered from observation on field, shad-owing, interviews.

Interestsbeing update on current affairs, expanding her network, traveling

Characteristicsfamiliarity with the technology to work, learn and organize the practical aspects of her life.She attends training courses of her company as a settled practice and she deals with them with a relaxed attitude, expecting to go home with a bunch of pdf and presen-tations files.She is generally happy to participate because she can expand her network of contacts and always learn something new.

Goalsintegrate her knowledge;do not get bored and take notes in a productive manner;get the tools to deepen the arguments once finished the training;meet new people.

SUSANNA / THE PARTICIPANT OF A TRAINING WORKSHOP

Age38

Background and jobEconomics and Business degree, sales manager in a big company

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215 / CREATE

Interestsbeing updated in Research and Innovation fields, attend specialistic meeting, learn new facilitating methodologies, TED conversation follower

Characteristicsowner of the methodology of training, he is a nomadic worker as he teaches courses in different places during the week; friendly manners, he knows how to break the ice and create a productive atmosphere;proactive attitude, aimed at continuos growth; he is the one who translates the more technical contents and he knows what the particpants really need.observation, synthesis and relational skills; he has developed a good empathic sensi-tivity that lets him feeling how a situation is going and help in easier and maintain a good rythm during his workshops.

Goalsto have the tools to set the appropriate environment and atmosphere during his courses, preferably adaptable; he usually must compensate for the shortcomings of the physical structures with its capacity as facilitator to keep alive the attention and the energy of the participants.

ROBERTO / THE FACILITATOR OF A TRAINING WORKSHOP

Age45

Background and jobConsultancy and training in Market-ing, Negotiation and Innovation and Change for enterprises, public sector and associations.

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Interestscontinuous updating of his field of interest

Characteristicshe has been called by the facilitator to collaborate;he considers the workshop a moment of mutual enrichment that breaks and diversi-fies its work routine while maintaining a direct channel with different target every time. He uses specific words, which may be difficult to follow because it does not share the same vocabulary of the participants, he takes for granted the most common things of its area of expertise. Sometimes he may appear boring and he needs the help of the facilitator to translate his contents in something more accessible and compre-hensible.

Goalsfamiliarize quickly and establish a lively exchange with the participants, make team-work with the facilitator and do not feel like a guest;interact in full spontaneity and do not have to worry about understanding where the instruments are placed.

MICHELE / THE EXPERT OF A TRAINING WORKSHOP

Age42

Background and jobEconomics and Business degree

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4.3.2 SYSTEM MAPThe Trigger Set is the physical transposition in the space of the values promoted by the "Facilitating Innovation" training program: freedom of expression, creativity, involvement, discovery.It is primarily intended for training institutions, contexts hosting didactic laborato-ries, workshop activities. His first vocation is in fact to host co-creative and collabo-rative workshop sessions in which participants are asked to work in groups and to present what they have done.

Simplifying "Facilitating Innovation" is the theoretical training package, while the Trigger Set is the practical package, the spatial and instrumental one.As they are not bounded to each other, the customer can request just one of the two, but if he would require both of them he would live the utmost experience of creative training ever since "Facilitating Innovation" and Trigger Set work best together in synergy and find in each other their full expression.

The Trigger Set is the solution to the problems of rigidity and formality that occur in the environments where the workshops are usually held: schematic corporate meeting rooms, static classrooms.The service aims at creating a shared awareness and knowledge of how powerful can be a space in supporting learning and training processes when it is conceived as an interface, a shapeable tool instead of a mere issue of furnishing.The Trigger Set is made of three units: Spaces, Tools and Resources. A highly configu-rable set of spaces, populated with innovative design tools and facilities that allow for large group, small group and individual thinking and design. They work on different levels, but they are part of the same vision and integrate each others.In this way Xplora-lab enriches and completes his training offer providing an intense workshop experience: inspiring, innovative and at 360°, for body and mind.

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The service is structured to have flexibility and can answer a wide range of requests. The Trigger Spaces can be both buy or rent on a daily basis for short events, or on a weekly basis for longer but always temporary situations ( for example a university summer camp programme).

The client contacts by mail or phone Xplora-lab that fixes an appointment in place. Xplora-lab then advises and assists the client in planning the space, proposing the combination of spaces and tools best fits his needs and requirements. The client order when satisfied of the proposal and pays through bank transfer.Xplora-lab receives the payment and on a fixed date arranges the transport and instal-lation of the Trigger Set.A competent trainer will be sent by Xplora-lab to explain how to use the Trigger Set, if the client has also subscribed to the Facilitating innovation training program it is likely that the figure of the trainer is carried out by the Facilitating Innovation facilitator itself.The facilitator with the help of the Tools of the Trigger Set guides the workshop development trough the Divergent, Relational and Inspirational Spaces.Facilitators and participants at the end of the workshop experience can deepen issues related to the use of space in educational environments and share their comments on the blog, enriching and improving in this way how to use the Trigger Set.For every need the customer service remains available for any question.

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4.3.3 BUSINESS MODEL CANVASCUSTOMER SEGMENTSThe Trigger Set meets the needs of an inspiring training space but it is adaptable also to meetings and presentations situations.It addresses all the customer segments related to the fields of Innovation, Research and Education, from temporary to permanent structures, from the public to the private sector, first of all training companies and Industrial Unions.

PARTNERSHIPSThe Trigger Set can establish a deal with furninshing companies and ask for exclusiv-ity. It can be partner of realities that share the same collaborative approach like cow-orking spaces. Some customer segments themselves may propose as supporters and investors of the service, for example covering part of the prototyping and production costs. Universities may host the Trigger Set for a reciprocal visibility and to have workshop demonstrations.The benefits of being a Trigger Set partner is becoming a bearer of the values associ-ated with it: innovation and creativity, gaining credibility and interests from third parties.

REVENUES STREAMSIn the immediate period revenues will come from sale and rent activities of the Trig-ger Set.On the long-term-horizon Xplora-lab will gain insightful understanding about how to deal with a space in order to set an engaging and productive environment, so it could provide learning space planning consultancy and have in this way another revenues stream.

8 Lambin, J.J., Market driven Management, McGraw-Hill, Milan, 2011

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4.3.4 SWOTSWOT8 analysis (alternatively SWOT Matrix) is a structured planning method used to evaluate the Strengths, Weaknesses, Opportunities, and Threats involved in a project or in a business venture. A SWOT analysis can be carried out for a product, place, industry or person. It involves specifying the objective of the business venture or project and identifying the internal and external factors that are favorable and unfavorable to achieving that objective.

Strengths: characteristics of the business or project that give it an advantage over others.Weaknesses: are characteristics that place the team at a disadvantage relative to others.Opportunities: elements that the project could exploit to its advantageThreats: elements in the environment that could cause trouble for the busi-ness or project.

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STRENGHTS

OPPORTUNITIES

WEAKNESS

THREATS

- the space from static becomes active tool that supports divergent activities;- both emotional and functional;- adaptable, high configurability level;- it fosters collaboration and interactions between participants;- easy to test and improve;- resilient system: if there is a missing ele-ment is not enough to make it collapsing.

- new and potential ways of use may be discovered over time;- increasing interest for learning envi-ronments, new revenues scenarios and applications (shops, libraries,..);- create a shared culture on effective train-ing and learning spaces and tools, collect the insights in a book or videos- frequent participants turnover means a lot of user experience to improve the service- design processes and tools to enhance participants interactions and growth of professional network

- replicability by competitors and im-proved version;- maintanance;- logistics and deliver if the Trigger Set is requested abroad.

- not easy do develop an online self service channel;- it is needed assistance during and after the sale;- periodical updating of the elements of the service, from furnishing to facilitating techniques (neverending research).

SWOT

TESTING IN THE REAL-WORLD

5PROTOTYPING

5.1/ PROTOTYPING

5.2/ UNDERSTANDINGS

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5.1PROTOTYPING

5.1.1 WHYTo understand the importance of the prototyping phase I report the description from the “This is Service Design Thinking” book by Stickdorn and Schneider, 2011.

WHAT IS IT?A service prototype is a simulation of a service experience. These simulations can range from being informal “roleplay” style conversations, to more detailed full scale recreations involving active user-participation, props, and physical touchpoints.

HOW IS IT MADE?Usually some form of mock-up of the service will be created. The prototype can vary greatly in terms of tone and complexity, but the common element will be the capac-ity to test the service solutions being proposed in something approaching a “real-world” environment.The prototype will generally be developed iteratively, with suggestions and refine-ments being costantly incorporated.

WHY IS IT USED?Service prototypes can generate a far deeper understandings of a service than is possible with written or visual descriptions. The principle of “learning by doing” is

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prevalent throughout, with the focus on user experience meaning the prototype can also generate tangible evidence on which solutions can be founded. Prototypes also help iterate design solutions, as they can quickly incorporate and test the ideas and refinements they may provoke.

5.1.2 PREPARATION With Xplora-lab we set a date for the prototyping. We choose a one day-session of Facilitating Innovation training program at Skillab, the training center of the Indus-trial Union of Torino. It is a very institutional structure, well equipped and with a variety of classrooms that range from 20 to 50mq2.We were assigned a 30 mq2 classroom, which is not a lot but a small amount of space would have been good to force the prototyping, producing meaningful feedbacks in-stead of a more confortable situation. When there is a lot of available space it is easier to contaminate and own it during divergent activities, while it is more problematic doing the same with restricted classroom as we had. So we had real constraints for a real test!I had to decide what to realize to reproduce the feeling I’ve imaginated a Trigger Set would provide. Iworkedonsomeelements:writingsurfaces,movability,layoutreconfigurability,inspirationalnookandtangerines.Theaimwastocommunicatefreedomofactionintothespace,dynamicism,vitality.

The first step was creating a movable vertical board of 70 x180 cm that can work both as visual support and room divider. I made three of them, the base was a card-board cylindrical box on casters that could also serve to lay pencils and pens.They were the key-elements of the prototyping, a visual statement of flexibility in the space and clearly a group-oriented object.

Cardboard cylindrical bases on casters

Making of....

231 / PROTOTYPING

Vertical whiteboard,70x180 cm

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5.1.3 TAKING THE FIELD

The day before I went to Skillab to set the classroom.The most annoying problem was that all the tables were bound to each other in a very stong way and it took an hour and half to unlock all of them. I was helped in doing this by a friend.I knew we were expecting for a 11 people class the day after so six tables were too much, I stored three of them and kept just three tables. Then I moved away all the rolling yellow chairs because they were too comfortable and homologated and re-placed them with 15 foldable chairs, every chair was different from the other in order to break regularity, but the fact they were all foldable communicated it was made on purpose to avoid the idea they were the first chairs came to my hands.I need a shocking effect to contrast the formal surrounding environment so I over-lapped the tables and the final result was pretty unusual!

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from 6 locked tables to3 overlapping tables!

Unlockthe tables

234

snake layout

Have a seat..or a table!

Participants as they entered the room were quite amused and each took the seat they preferred, they seemed to be at the beginning of a school trip, when everything is ex-pected. That was the right mood I meant to create.

Then they were asked to ar-range the tables to start the workshop activities.

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The tables have been moved several times depending on activities.

alternate layout

U layout

236

Vertical boardsimmediately create group nooks and at the same time let open the viewtransmitting a generalatmosphere of livelybusyness.

When the groups were ready with their works they rearrange the room to have an ‘amphitheater’ layout to expose in turn.

Hide and tell

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1 bean bag + 1 blu carpet+ 1 chest full of books + tangerinesto create an Inspirational Space.

The Pink Rabbit is to mark the surreal dimension, while the tangerines were chosen for their freshness, small size and bright color.

Pink rabbit

creative use of clips

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+ tangerines

a self-made mascot

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dismantling.

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5.2UNDERSTANDINGS

The prototyping generates meaningful feedbacks.From the participants perspective it was an amazing training experience, they be-lieved that room was permanently set in this way, it was credible.

Part of the objectives was reached, but other aspects didn’t run as expected.

SENSE OF PERMISSIONParticipants didn’t take sticky notes when they finished their block from the ‘station-ery trolley’ even if they were told to refill as needed, at least not at the beginning of the day. For them the ‘stationery trolley’ was under the control of the facilitator who dispensens the right tools at the right moment.

NEED FOR DIRECTIONRearrange the layout of the room is a great way to use the space and demonstrate with facts that it can support the way we experience the training activities but it requests a preset direction. The facilitator should know in advance which layout he wants at what moment to save time and avoid uncertainty which is perceived by participants and give the idea of improvvisation. Anyway this problem would be overcome after few times to get used of the Trigger Set and the service include a trainer to explain how to use it.

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READING CORNERThe reading corner with the pink rabbit represented the prototyping of the Inspira-tional Space. Its fruition is related to the lenght of the workshop session, in one-day training there could be moments in which participants hang around it, especially during break time and after lunch time but in less time than a day it may be difficult to reserve a moment for books. It was useful instead to have at hand the books when nominated during the lectures.The Pink Rabbit was appreciated a lot, it added a sparkling note to the environment and at the same time coomunicate that the space has been set with care.

NAMING THE GLASSSome participants wrote their names with the pen on the plastic glass. It was a little gesture but precious. It facilitates the identification of each glass and limits the waste of them, helping to keep in order.

PAPER BINSPaper bins are necessary as the divergent exercices produce a lot of sketch materials.

FOODTangerines reached the aim: they refreshed and diffused a citrusy scent in the air. They were put on purpose on a tray at the end of the room to push people to stand and have a little walk time to time; someone used a tangerine in a creative way: he had to test a pen functionality so he tried to write on the peel and from those lines he drew a face and the tangerine became a mascot!In the afternoon, when everybody already knows each other and the atmosphere was friendly, after the coffe break they brought a pack of cookies to share and put the box on a chair with the coffee pods box alongside.

MOODThe atmosphere was really good, it was possible to breath positivity and the partici-

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pants were willing to create and share. They freely expressed their ideas and thoughts and listen with curiosity to each other. A woman after an exercise kept some clips in the hair, she definitely felt at ease. The attention decreased for a while after lunch, when probably the majority of par-ticipants were fighting to not take a nap.

MUSICDuring some divergent activities that didn’t request to speak, for example the creation of moodboars, a background music was played. It was a playlist took from Starbucks that aimed at creating an easy and lighthearted mood, it was a jazz music selection.It was helpful, especially at the beginning when the participants were not still into the exercise, the music kept the atmosphere alive. It may be useful after lunch then.

VERTICAL BOARDSUsing the vertical boards to divide the space and provide a work surface for each group revealed how effective can be a space with the appropriate tools. The size fit the small dimensions of the room allowing to maintain maneuvering space. With the right positioning of the boards each group cannot see what the others are creating but the general view remains open showing the other buzzing so every group are subtle encouraged to be productive as there is a general active atmosphere.Once finished it was really easy and quick to set the room as an auditorium, the table were put in semicircular position and the person in the centre, the one that was explaining his artifacts, seemed to be on a stage.

6CONCLUSIONS

6.1/ FUTURE DEVELOPMENTS

6.2/ CONCLUSIONS

personal conclusions content conclusions personal conclusions

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1 www.prometheanplanet.com2 www.xplosiva.com3 http://www.manageronline.it/articoli/vedi/5128/aromaterapia-il-profumo-del-business

6.1FUTUREDEVELOPMENTS

MUSICThe perfect divergent training experience engages all the senses.There are studies1 about the effect of music on the concentration of people when studying or work. During the prototyping participants seemed to appreciate light lively background music during divergent activities, such as creating moodboards.The idea is to create a music compilation, with no lyric that support the different phases of a Facilitating Innovation workshop. For this purpose Sergio Ricciardone from Xplosiva has been already contacted. Xplosiva2 is a organization that deals with music in an experimental way to create live experience and shows.The compilation would enrich the Tools cathegory of Trigger Set.

AROMATHERAPYIn the same way also perfumes can influence our energy. To improve the quality of the work, for example, in Japan3 it is considered that the essence of lemon has a stimulating effect and is easy to smell entering in the office in the morning. In Japan, aromatherapy is particularly followed, there are also large companies, such as Takasa-go, which in addition to producing perfumes and fragrances study the effects that aromas have on the person.In the offices at different times of the day it may happen that different scents are sprayed: in the afternoon, the smell of flowers, which prolongs endurance. The

247 / CONCLUSIONS

248

cypress, for example, seems particularly suitable to pass the feeling of sleepiness after lunch, and is sometimes also used in the meeting rooms. The scent of wood instead transmits optimism.As future development Trigger Set may create a set of scent to be used during work-shop sessions to stimulate different sensations according to the typology of activities.

VIDEO TUTORIALTo explain in a more effective way how the Trigger Set can be used a series of video tutorial can be done and uploaded online as a resource for facilitators and educational operators.

249 / CONCLUSIONS

6.2CONCLUSIONS

6.2.1 METHOD CONCLUSIONSA large portion of time and energy in service design has been used in the research, collection and analysis of data and informations.It was necessary to understand at which point we had arrived, how much awareness there was about the role of space towards learning processes and how this is trans-lated into real world applications.At first it seemed there were not a lot, fragmentary documents, but proceeding it emerged that it is a transversal theme, which had to search within articles that deal with broader topics such as life in the office or how to keep alive and receptive a mind when studying and working.To map and keep track of all of this contents in an organized way as well as the need to proceed with consistency required to have a strong control of the method, rely-ing on each phase and developing step by step, avoiding the hurry to find easy or immediate conclusions, trying instead to have an overview that allows for in-depth reading.I adopted the method described in the book “This Is Service Deign Thinking” which includes the steps of: exploration, creation, and prototype implementation.Following a method has helped me to keep the direction, to hold all together the data and the meanings that continuously overlap enriching the picture.I understood the importance of both the research phase and observation, as they are complementary to identify patterns and insights.

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The research prepares the mind to a conscious observation, able to look deeply. The observation on field allows to collect first-hand data, to see details of behavior that people do not always reveal in an interview, to experience firsthand the context in which you are going to design.Having the opportunity to do shadowing during the workshop sessions under the cover of being an intern there to help has been enormously helpful and a privileged status. The users were spontaneous in their behavior and not at all influenced by my presence.

The reiteration is another important element. Potentially you are never finished and there is always something left that can be improved. It is necessary to understand when to stop with the exploration phase and start the creation phase.In my case I stopped when i had enough elements to delineate both emotional and practical aspects of a workshop. They will have guided me in the creation phase.

The direct and continuous confrontation with Xplora-lab, the service provider, has al-lowed us to create a shared framework; it was my referent to clarify dynamics such as the distribution, the network of potential customers, the actors in the field of train-ing.

Finally the prototype, it is a true test. Because of lack of time, budget and organiza-tion usually one is obliged to select what really matters of the service, two or three essential touchpoints that summarize the intent and spirit of service.In my case enhance surfaces and the reconfigurability of a space, the reading nook and mandarins!It is an exciting phase because it comes to life what you have imagined and at the same time it gives you a lot of informations on what to amend and supplement.Since the approach of the method is iterative, the service itself must remain open, be designed in such a way as to allow growth and future implementations.Similarly the Trigger Set wants both to be a proposal for a service linked to the train-

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ing spaces and laboratory in course of work.

6.2.2 CONTENT CONCLUSIONSThe Trigger Set is totally a product service system designed to provide a workspace for group activities that is functional and inspiring at the same time.The ideal environment for design-oriented team, but maybe the designers have less need of it because they already have the resources and inventiveness to adapt a space to their needs.The challenge was instead to create a pss designed for formal and rigid contexts that would break the lines, especially the mental blocks of the participants, usually man-agers in suits who are stiffened by the roles and conventions.The main reference context are the companies and training centers, but the Trigger Set is well suited to all those teaching situations in which educational activities are carried out in the laboratory.It is self-explanatory and comes to life when people are using it, so it was important to give people the tools to find and exchange ideas and proposals on how to use the Trigger Set, creating a shared knowledge.I want to specify that the result is not a product or interior design project, it is a product service system that serves as an editable spatial interface and it enables users to use it with profit and providing accesible resources when needed, from knowledge to practical tools.The result was the identification of functional cores of this interface space (Divergent, Relational, Inspirational Spaces) and the type of tools needed to support the train-ing experience. Once the system and the interdependencies between the functional cores, instrumental units (TinkerKit, Books, Games) and resources (Blog, Pinter-est, FlashTips) are established, it does not matter, for example, that the individual food carter is exactly of that shape and color, it is important to remember instead to reserve a space for food and drinks inside the classroom (or the area that hosts the

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Divergent Space). It can be used an extra chair as top table or some dishes, one for each group table. At that point, it is interesting that each dish has a different content, maybe one has biscuits, fruit the other, in order to create an excuse for people to go from one table to another from time to time and increase interactions, creating a lively and sharing atmosphere.This is the spirit and the final purpose of the Trigger Set and all its elements contrib-utes so that creativity can occur spontaneously.

6.2.3 PERSONAL CONCLUSIONSIt has been a fascinating and rich journey, a design context in which I had full oppor-tunity to apply research methods and techniques.It made me realize that designing with and for the people is essential to move from the abstract level to the real one. The meaning of the word ‘space’ has changed for me, now to me a space is where something is happening and you can design a service in order to shape that space to allow better experience.

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Thanks toMia mamma e mio papà: i miei genitori per il tempo, l’energia, il supporto morale ed economico che mi hanno dato in questi anni, per avermi lasciata scegliere sempre liberamente pur esprimendo i loro pareri.

La mia famiglia, la forza delle mie zie e delle mie nonne che mi dimostrano silenziosamente il valore della costruzione quotidiana.Gli amici che mi hanno prestato 15 sedie pieghevoli una diversa dall’altra senza farmi troppe domande: Natalia, Kro, DeIacovo, Banino, Muscarello.Tutti coloro che mi hanno detto ‘in bocca al lupo’ in questi mesi.Elena, Chiara e Valentina per i gelati condivisi in ogni stagione e tempo, le chiacchierate e il buonumore che riescono sempre a infondermi.Sara, Aurelio ed Enrico per la loro disponibilità e per avermi detto cose specifiche e utili!Paola e Federico per avermi regalato il libro giusto quando ancora valutavo che percorso scegliere dopo la triennale.Elisa, Lorena, Francesca per tutte le uscite che ora recupereremo.Rebecca per la pazienza, energia, competenza, apertura mentale e attenzione al dettaglio. Per aver imparato moltissimo in questi mesi e avermi dato questa opportunità.Claudia per esser stata la coinquilina e l’amica perfetta.Mariko per il supporto via Skype e la calma orientale nel momento del bi-sogno.Le arance per quante spremute mi sono fatta.

Raoul per esserci sempre stato, soprattutto quando ho iniziato questa avventu-ra a Milano, grazie.