This year I took a summer holiday — something I’ve not done in years — and was reminded what literally stepping away from your everyday life and journeying to other spaces and places does for the mind, the heart and the soul. As kids (and adults) all over head back to school and tell their stories about their summer break, here is some of what I took away from my trip to the Netherlands and England.
This time of year in the Northern Hemisphere is typically called “back to school” time as students return to their classrooms or start a new educational journey altogether. For young and old this new beginning signals a change of state and a great opening to experience, new knowledge and new people.
Among the first things students in grade school do upon their return is share what they did on their summer vacation. This year I am not returning to school, but I did have a summer vacation and in the spirit of ‘back-to-school’ I wanted to share what I learned.
My journey to the Netherlands and England allowed me to partake in sightseeing, walking for hours through some of Europe’s most beautiful towns and cities, taking in the art and history of two incredible regions, getting inspired, learning from other cultures, taking (and making) a rest, and also figuring out how to become a better football goalkeeper (more on that some other time). However, like any trip it is often about the people not just the places that make the difference and that is what I wish to focus on here.
The importance of beauty
Amsterdam is a beautiful city and so it was fitting that I spent one of my first days in that great European capital having lunch with author, consultant and designer, Steven de Groot talking about — among other things — beauty in organizations. Steven wrote what I believe is the most interesting doctoral theses I’ve ever read (PDF) on the role of beauty in organizations and has been developing new thinking on organizational aesthetics ever since. What makes Steven’s work so interesting is that he has taken a collection of ideas that are straightforward and simple on their own and brought them together to reveal something that is (paradoxically) incredibly obvious and yet completely unnoticed in most organizations.
Truth, beauty, goodness — these are things that we are attracted to, yet rarely identify as fundamental qualities of a high performing organization. Steven inspires people to rethink this through his writing and consulting.
I was speaking to a bartender at the local pub near my hotel about Steven’s work the evening before he and I met and the bartender went through the same stages as I did upon first encounter with the topic of organizational aesthetics: puzzlement, uncertainty, curiosity, wonder, confusion and then the big “a-ha!” where he realized how much sense it all makes (and asking why is this the first time contemplating all of this?). Why should we not value beauty in our work and workplaces and spaces? After all, we do it in almost every other facet of life and yet rarely do we consciously consider the role that aesthetics play in our organizational creations even if it is an enormous driver of behaviour and contributor to our wellbeing and quality of life.
Steven and I spoke of the challenges and opportunities inherent in inspiring people to think like a designer, wrestle with change in organizations, and overcome the (largely) self-imposed constraints to possibility that groups place on their perspectives about what is possible. We also spoke of the Dutch approach to constraints and how they’ve managed to work with a series of physical and social ones to create a society that largely supports innovative design in cities and organizations. The big challenge in drawing lessons from the Dutch (or anyone) is dealing with scale and determining how best to take ideas from one context further into others and what the implications are for transporting designs in one space to another. Beauty however exists everywhere in its own space and time, which is why it offers so much to designers working in different contexts: it’s inherently a local and global phenomenon simultaneously.
We make selections of friends, partners, places to live, products and services all based on some connection to beauty — even if that definition of beauty is different between each of us. Human beings have their own sense of beauty and are attracted to things we find beautiful so why would we not collectively nurture those qualities in the work processes, outcomes and environments we spend time in by design? We can design beauty into our work and Steven’s research and practice have pointed to ways in which people build appreciation for beauty, nurture it, and design it into the environments they inhabit everyday to enhance wellbeing, creativity and productivity. This is powerful stuff.
The power to change
Power is no more evident than in the process of change-making and I have found few more thoughtful on this topic than John Wenger. John is a London-based (via New Zealand) Scot who is a psychotherapist, organizational change consultant, community animator and writer. John seeks to find, build and nurture what Meg Wheatley calls “islands of sanity” in a complex and chaotic world through his therapy, community and consulting work. In that vein he and I met at the Victoria & Albert museum for a coffee and a stroll through some of the collections as an island of cool on a hot summer’s day.
This was just the start our our journey as we soon found ourselves zipping over to the Tate Modern and then for a long walk through the Borough Market and along the Thames talking all the way about the role of capitalism, community, individual behaviour, organizational design and social connection in shaping the world we work in. In the frenetic chaos of London’s core during the height of tourist season John and I created our own island of sanity (and inspiration) through our walk and time together.
At the heart of our art visit was a trip to the Tate Modern to see a collection of works by Mark Rothko, the Seagram Murals immortalized in John Logan’s stage play Red. These works embody the kind of complexity that anyone working with human systems knows, but rarely can communicate so eloquently: the (appearing simple) works take vastly different shapes depending on where you sit in relation to them. Rothko’s pieces, like the one pictured above, look one way in a photograph, another from across the room, and something else when closer. Lighting matters, too as I suspect they would look considerably different in different gallery spaces. Rothko knew this and that was part of his genius. Each of these perspectives provides a new layer of information, wonder and reveals new patterns within what appears to be a simplistic frame of four lines connected into a box.
John understands that the same qualities that make Rothko’s work so mesmerizing is what also makes human relationships so important. It’s easy to make a judgement from afar, but it is only through getting closer, stepping away, turning things on their head that we begin to see things differently and, with it, open up possibilities. In the calamitous wake of Brexit John is leading workshops to help people make sense of what it means for Britain (and themselves) and is encouraging healing through use of reflective dialogue and sociodrama. He sees the rift created when, no matter what your position on Brexit might be, you see one half of your country holding a counter position to your own on a matter of great importance. How do we live together, see the differences, embrace the opportunities that come from difference and bridge the gap between what we see, what we know and what we do?
It is fitting that our day of conversation, food, and walking would be filled with art because that artistry and the attention to the way we co-create reality through art is what John brings to the world. It was a reminder of the power of relationships to bring out our best and reveal new pathways to those islands of sanity that we might miss if we simply approach the world head-on in a cognitive-rational manner and take the world as its presented to us by media, social norms and our past interpretations of history. Art is a gift embraced with others.
Conserving the planet, humbly
Alas, there are times when history cannot be avoided as a means of understanding our future and ecological sustainability is one of those issues. Right now, humanity is much like the twins above peering at us in Brick Lane: some of we call ‘art’ is a little noxious for the planet.
Andrew Knight and I along with a small group of conservation biologists, systems thinkers and evaluators are part of the Silwood Group: a ‘praxis’ tank (as opposed to a think tank) that seeks to bring new thinking about conservation and ecological systems together with concrete action to advance our protection of the planet. It sounds like heady stuff, but like an inversion of Rothko’s paintings there are areas of simplicity within the complexity presented by these issues that Andrew and I sought to work on over two days spent at Imperial College, where Dr. Knight is a Senior Lecturer.
Aside from some light-hearted discussion on the comic genius of the Flight of the Conchords or the maddening systems of administration within universities, our time together dealt with the ways in which we, as a transdisciplinary blend of scholars, practitioners and ‘pracademics’ from across the world and from different sectors who are the Silwood Group, could make the biggest difference in the shortest amount of time with our limited resources — a typical conservation problem if ever there was one!
This is really a contemplative problem that combines many of the aspects of what Steven de Groot and I spoke of in Amsterdam and the conversations I had with John Wenger strolling along the Thames.
It is about creating / designing spaces and products that allow people to engage with complexity and the volume of issues that are entangled within conservation and to do so through by anchoring the work to beauty and to relationships. One avenue is through education (*and by education, we were thinking about real praxis-led learning and not just packaged toolkits, lesson plans and classrooms with rows and PowerPoint) because it is through curiosity, exchange, exposure to new thinking and the opportunity to try things out that we build the kind of relationships to people, organizations and ideas that allow them to stick.
Two days was not enough to flesh this idea out much further, but needless to say that there will certainly be much reflecting upon my summer vacation in the months to come in ways that I am only now, getting back to everyday life in Canada, appreciating had such an impact on my thinking. More, much more is to come.
Thanks Steven, John and Andrew for providing such inspiration, insight, camaraderie and intellectual and social companionship on my journey this summer. I am looking forward to building on that with you in the days and months to come and, like a Rothko painting, finding new meanings and layers to the work every time I encounter it.
Photo credits: Author.
Notes:
Mark Rothko’s work at the Tate is staggering in what it elicits when seen in person. Go see it. For more information click here.
Zabou’s street art can be found here, but like all art it’s better to engage with it up close if you can find it and Brick Lane in London is as good as anywhere to see some beautiful street art.
If you are in the UK (or even if you aren’t, I suppose) and interested in John Wenger’s post-Brexit workshop entitled Who Shall Survive Brexit on October 6th you can register for it here.