Rapport "Bob's rapport with the workers is extraordinary. Reminds me of something Noguchi once pointed out about Bernini during the days he was building St. Peter's in Rome: how what made him so special, aside from his own obvious gifts, was his ability to extend himself through the work of others, to get them on his side and working in his direction." Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees leadershipteamwork
Design Leadership Truisms An Article by Peter Merholz www.petermerholz.com PEOPLE ARE NOT THEIR JOB TITLES. TEAM MEMBERS ARE NOT “RESOURCES”. PEOPLE WORK BEST WHEN THEY CAN BE THEIR FULL SELVES. YOU CANNOT CALCULATE AN ROI FOR DESIGN. FRAMING THE PROBLEM IS MORE IMPORTANT THAN SOLVING THE PROBLEM. (DESIGN) LEADERSHIP IS MORE TALKING THAN DOING. YOU’LL DO A BETTER JOB IF YOU LIGHTEN UP IF YOU HAVEN’T PISSED SOMEONE OFF, YOU’RE NOT DOING YOUR JOB RIGHT. NO ONE OUTSIDE YOUR TEAM UNDERSTANDS WHAT IT TAKES TO DO GOOD WORK. THE OUTCOMES ARE BETTER WHEN EVERYONE IS A DESIGNER. AGILE TRANSFORMATIONS ARE HOSTILE TO GOOD DESIGN. WHAT A DESIGN TEAM NEEDS MOST IS A CLEAR SENSE OF PURPOSE. YOU ARE ON THE FRONT LINE OF A GLOBAL WAR FOR TALENT. EVERYONE APPLYING FOR A ROLE HAS AN INFLATED TITLE. INTERVIEWS ARE A POOR WAY OF ASSESSING CANDIDATES. DESIGN EXERCISES ARE A BAD INTERVIEWING PRACTICE. YOU WILL NEVER HAVE ENOUGH DESIGNERS. YOU WILL NEVER HAVE ENOUGH TIME. THE SKILLS THAT GOT YOU HERE ARE NOT THE SKILLS THAT WILL CARRY YOU FORWARD. Truisms designleadershipteamwork
Silicon Valley Product Group A Website by Marty Cagan svpg.com The best companies go about building great products differently. Silicon Valley Product Group (SVPG) was created to share lessons learned and best practices about how to build innovative products customers love softwareleadership
The drop press The virtue of thin sheet metal in giving the greatest glitter for a grain of gold was exploited in the earliest days of metallurgy. However, before the days of rolled sheet and drawn wire, most metal objects were made by hammering and were basically three-dimensional in form. [In contrast] look at the simple drop press — it’s unmodulated blow striking in a single direction symbolizes much of nineteenth-century mechanized production. To make multiple stampings, stacks of very thin metal sheets were superimposed under the hammer, and the final profile with moderately high relief was gradually achieved as finished sheets were removed from the bottom and new ones added at the top. When the drop press was used to shape large areas of thin sheet metal, the aesthetic qualities of the surface became divorced from the underlying substance, and decoration became independent of the body needed to support it. In any object there is a natural relationship between the surface and the bulk, that is, between its one-, two-, and three-dimensional aspects. The fakery involved in applying gold or silver playing on a solid copper object is quite different from the deception of an ornately stamped piece of thin sheet brass. Compare a magnificent ormolu furniture fitting or even a gilded plaster picture frame with a cheap lamp base embossed in thin sheet brass. In the former, the surface is simply and honestly applied for its optical effect alone; in the latter the fakery is fundamental for it is dimensionally misleading. Cyril Stanley Smith, A Search for Structure Separation of surface and structure