So many great issues to get into and so little time. The NEA is going to continue with this topic and broaden it out to look at women in the arts in the fall.
Interested in more on these issues? I work both on issues of social impact design through my research–more on that coming to the blog thanks to a research grant from the NEA—and Build Yourself+, my challenge-based empowerment workshop for women. Sign up for the workshop’s newsletter for more inspiration, strategies and tactics.
It’s going to be a great conversation–the panelists include Dawn Hancock of Firebelly Design, Liz Ogbu, urbanist and social innovator, Lakshmi Ramarajan of Harvard Business School and myself. We’re going to look at the larger issue of mission as a key component in the lives and practices of female design practitioners, but also how the social impact design field can do a better job at demonstrating and pushing for equity–especially gender equity–in practice.
“What women want and what the profession and society needs should not be in conflict.”
Katie wrote a great blog post previewing the conversation here and I wrote a piece on the view from architecture’s two equity-based movements here.
Trevor started with this amazing video he put together as his introduction to Wistia, which gave us a sense of his story in the well-styled, off-beat and incredibly personable style that I’ve come to know him for.
I hope you were as as charmed as we all were.
That video is so well done that I could just leave it at that, but I’ll go on and share a little more of the Trevor Holmes magic.
Trevor took us back to Pennsylvania where he started out, in community college where he first started tinkering with radio and TV production, and then on to Lehigh University where he zeroed in on design arts–specifically on web and graphic design. After graduating he freelanced for a time, working on whatever he could get his hands on, and working on his own projects including a line of snarky greeting cards, a collaboration with his now-wife.
Trevor moved on to a few positions after freelancing that placed him in different roles. “Being adaptable and flexible where the world takes you in every day life let me take my skills from college and turn them into a career that was sort of up and coming at the time,” he says. His first position was for a small web and graphics firm, the second was for a Foodler-like startup, and the third was for a marketing firm, Digital Feast in which he started to move into video. “What I love about video is that it’s the ultimate visual experience,” he says. Wistia first came onto his radar because Digital Feast started using their service for web video hosting with a clean interface.
Trevor was good enough to show us one of his early video projects, that he did while in school. The assignment was to create something to pair with music, and his piece is a wacky, endearing stop motion romp through rough sketches, with a friend’s band’s music as a soundtrack. When asked what he would say to a younger self in a critique he says, probably, “tone it down.”
But in these early pieces you can absolutely see a thread emerging–Trevor’s quirky, slightly bouncy and off-beat sense of humor which comes through in his work. His ‘cover letter’ to Wistia was a Pokémon-themed video in which the Trevor ‘avatar’ visits the office (“Mr. Wistia” greets “Trevor” with wonderfully 1990’s pixelated cheer.) Yet underlying this sense of fun is also a continually moving process of exploration and learning. Trevor referenced the ‘taste gap’ that Ira Glass talks about–the gap between what you can produce and your taste when you’re first starting out. His advice is essentially the same as Glass’s: “Just keep creating. Go into it full steam.”
Keep it Simple
A theme that runs through Trevor’s approach to work is to keep it simple. When asked how to create great video without a large production budget he advised the crowd that with basic supplies, purchased from home depot for under $100, a white wall (and preferably some natural light) they could make beautiful video. But what about actors? His advice: “I’m not an actor and my coworkers are not actors but you’ll see us in every one of our videos.”
Part of Trevor’s job now is to enable Wistia’s customers to create their own great video, and video that engages customers. To that end, he creates resources, including one on how to create that $100 setup–what he calls the “Down and Dirty Lighting Kit.”
Trevor’s approach is to spend much more time on the front end–really understanding what the purpose and idea is before a camera is ever involved. Then, he says, we can “shoot it in a matter of hours, edit it in a day” and have a rough draft.
We got to spend a little time at the end talking about Rigby, Trevor’s dog, also known as “Motivational Dog.” Trevor, (using his $100 lighting setup of course) posts photos of Rigby that are beautifully styled and often themed (Rigby recently celebrated Easter, for example by wearing bunny ears–among other things.) Trevor started this project because he wanted more quality time with his dog, and he thinks no matter how much you love your job “it’s important to have your work and your personal work.”
His parting advice to the crowd connected this sense of personal playfulness to his approach to continued learning: “I still am not an expert. I’m still a learner,” he says. “Do what makes you happy even if it’s taking pictures of your dog. Do what you love to do, even if that’s not at your current job.”
When I began blogging in November I didn’t know what the process would have in store for me. I didn’t set out to start a website and build my ‘tribe’ and I didn’t even know how long I would be doing it for.
I only wanted a place to think ‘out loud’ and sort through everything I was learning.
But consistency has paid off and it’s played a strong but background role in helping me shape my interests and ideas into action.
Blogging has helped me give shape to ideas that were ambiguous and tighten nascent connections among my endeavors.
I wanted to take a moment of celebration for ‘hitting fifty’ by calling out five of the things that have shifted for me since I began blogging that I am really excited about.
#5: I Founded the Creative Somerville Series.
This speaker series, which I run with Elyse Andrews of the Somerville Beat features local creatives and entrepreneurs in an intimate Q&A format, that eschews the ‘fabulous life of…’ approach that a lot of lectures end up at. Although the series is young, we’ve been sold out for every event we’ve hosted, and it’s clear the series is resonating with people.
I’ve loved being inspired by our speakers, the founders of Aeronaut Brewing, Kate Balug of Department of Play, Erin Heath and Rose Mattos of Forêt Design Studio and Trevor Holmes of Wistia. I’m also meeting wonderful people (see item #1) and love working with Elyse and our slowly growing crew of volunteers. Want to join in? Check out our schedule here.
#4 The Build Yourself+ Workshop is Taking Off.
I taught the Build Yourself+ Workshop, an empowerment workshop for women at the Boston Society of Architects for the first time this spring and it was absolutely fantastic. Evals that came back from the workshop are showing that the experience was life changing for many women.
I’ve always had plans for taking the workshop to the next level but a wonderful piece in Fast Company from a few weeks ago has expanded the workshop’s visibility and the workshop’s focus and challenge-based model is clearly striking a nerve. I’m looking at expanding the workshop to other cities and to other fields.
I’ve always intended to use my design skills in service of social impact, but blogging has helped me define a more sophisticated approach, language and set of strategies that I specifically use. Months ago, when I first started blogging I wrote this epic post (it was a manifesto of sorts) on how I thought landscape architecture could drive health outcomes.
That impact focus, driven in part by learning about lean startup concepts, has become a core part of everything I do, whether it’s the challenge-based model of the Build Yourself+ Workshop, or the strategy behind work I’ve been doing for clients. I’m currently taking an Acumen fund class on “Lean Impact Assessment” with my research partner Gilad Meron, and Katie Crepeau of the Impact Design Hub and am excited about how the class and our conversations. I’m excited to continue expanding my take on impact-focused work, and to investigate some instincts I have about how impact assessment can be more creatively driven.
#2 My Research on Social Impact Design Business Models was Funded by the NEA.
Ok so it’s not really fair to include this one as a blogging-related outcome, since we laid the groundwork way back in the fall when our research group, Proactive Practices applied for the funding.
But this was my first self-initiated project in the realm I work in: The intersection of design, entrepreneurship and social impact. I can say that I have used this blog as a platform to explore that intersection and draw out key connections and insight and direction. The blog has also demystified writing for me, and made ma a more confident, easy and fast writer, which I know will come in handy as we move forward with this project.
#1 I Have a Crew I Love Here in the Boston Area.
Most importantly, blogging has been a behind-the-scenes organizing force for me to learn, meet new people and get deeper into the city I’ve lived in for almost five years. Blogging gave me a place for reflection, a way of pacing out life, a week at a time, and a way to ‘file away’ thoughts as I met people. I’ve met fantastic folks in the area, and through events like the Design for Equity conference this fall, the Creative Somerville Series and the Boston Society of Architects.
Do you ever get that feeling that you’re surrounded by great people who you respect and admire, and they’re really digging each other? I am starting to feel that way in the place that I live and that’s a huge blessing.
I’m not going to conclude this post with a “and here’s to another fifty!” I’m going to conclude with a feeling of gratitude that slow steady progress can spiral into so much more. Here’s to so much more.
photo credits: featured image adapted from flickr user Elaine. Creative Somerville Series photo by Ben Holmes of Aeronaut. Build Yourself+ Workshop photo adapted from Nina Chase.
Exciting news! Proactive Practices, my research collaborative which investigates emerging business models of social impact design just got a research grant from the National Endowment of the Arts. The project was born for me a few years ago out of a very basic question. I’d seen celebrations of social impact design blowing up in the design press and media, but the attention was mostly focused on a fairly self-congratulatory what, (the projects and the designers behind them) instead of the how the works got done. I wanted to know which organizations were producing these projects, what business strategies and models they were using to do this kind of work and build sustainable, thriving businesses, and what the trade-offs were of the different models they had chosen. The project started for me as an independent study while I was in graduate school, and I linked up with Nick McClintock and Gilad Meron who were also asking these questions. Our research team has pushed the project forward, interview by interview, article by article, diagram and talk and presentation by presentation since, but now, thanks to the NEA and a matching grant from The University of Pennsylvania, we finally have a significant project budget to push this forward faster and get useful information to design practitioners who want to make social impact.
Here are 3 specific reasons why I’m excited about this grant:
We have a real budget:
Our team has poured countless hours into this project (I know I spent almost 100 hours on it in the last year.) We’ve prioritized it. One of my research partners and I even made a pact one week to donate to the Republican party if we didn’t hit our project goal. But this is the kind of project that requires making enough headspace to really get into it and be able to both plan and to work. With a significant budget we can also hire people to do things that are either not our strongest suit, or the best use of our time. We can hire web developers or graphic designers and get our interviews transcribed, pay for web plugins and other resources that will help us get our information to our audience faster and more effectively.
We have a timeline:
I am an impatient, action-oriented person. I get antsy if I find myself spending too much time planning and not enough time doing. While I initiated this research project for my own purposes—After three years in graduate school, I wanted to know what practice options were out there for designers to make social impact—I never intended to sit on my findings. Our research team has shared our learnings through talks and articles, but not enough, and not fast enough for my taste. I am a recovering perfectionist, I have been hugely influenced by ideas from books like The Lean Startup that advise you to put your work out there in successive beta launches that are good not perfect. I’d rather get good work out there now that practitioners can use today, than wait to craft something perfect, but not all my research partners agree. Both positions have merit, and having the funds to get closer to perfect, and a timeline to get closer to good is great mediator between our values.
We have specific deliverables:
We’ve always had specific goals of output for this effort—A publication and a web presence. But now we’re on the hook to produce those outcomes and need to get them done within the next year. I often like to work backwards from my specific deliverable—I’ll lay out a publication even before I have the content to feed into it because it helps me use my time more efficiently and only spend time developing what I actually need to develop. It also means that from the get-go I’m thinking from the perspective of my end user, about how they will actually use what I’m developing for them, how it can solve their problems and fit into the context of their lives. Knowing exactly what we’ve committed to producing means we’ll jump into that process faster and with more specificity. We can go through the iterative cycles of making something that changes the way social impact designers practice faster. I can’t wait until the day I’m back on this blog announcing the launch of insight and information you can use. If you want to be notified of our launch, sign up for our list.
Rose Mattos and Erin Heath of Forêt Design Studio joined us at the Creative Somerville Series last month, to talk about their story and their floral and event styling studio. Rose and Erin, who met while working for Anthropologie, described their friendship as an almost “cosmic connection.” Erin who was working under Rose, thought her boss new boss was the coolest and invited her to a party she was hosting her first Friday at her new job. The mutual girl crush was started and led to the strong friendship and business that is now Forêt Design Studio.
Both women love flowers, as Erin says, she recently discovered that in high school she’d written to a friend, “I don’t want to work for the man, I want to work for the earth!” Rose and Erin sought out professional opportunities in florist shops, and were told that the work was too dirty and they wouldn’t like it, and were turned away again and again.
Erin found work on a flower farm, and they began collaborating together on flower arranging and installations outside of their day jobs. Their style focused on a looser type of flower arranging that wasn’t as formal as the more contemporary, tight style common in Boston. Forêt means forest in french, and one of the guiding aesthetic values of the studio is the founder’s love for natural elements like branches and acorns, and not just flowers.
The ladies don’t describe the process of starting Forêt as a jump.They seem to have just flowed into it as their freelance work load got higher. But they do cite a key moment, when they applied for space in Fringe Union, a coworking space in Union Square that’s home to small businesses and design studios. We were excited to put our “eggs in that basket,” Rose says.
Once the ladies moved into Fringe and developed a workload, they actually fell into roles They realized they didn’t want to go into work every day and ask “Who should do this task, we should do that?” Their motto is divide and conquer. “We weren’t interested in creating more work for ourselves,” they say.
If the two of them worked in complementary roles, they realized they could accomplish double the work and focus on what they each were good at, and were interested in. Erin took on bookkeeping, administrative tasks and client contact, and Rose has specialized into an artistic director role. They both are actively involved in design and events and visit farms together where they can talk at length about the particular tone of red they want in a flower for their upcoming job.
The Dirt Erin and Rose are so positive and obviously work so well together that they’ve managed to turn even the bad times into good outcomes, reflecting that “they made us stronger.” From events that don’t always go as planned (they cite an event in their businesses’ early days in which they became a scapegoat) to a meeting with a financial planner who told them,”You need me but you can’t afford me” (they vowed to prove him wrong,) to missing friends’ weddings because they were planned after the Forêt schedule got booked, a flower-based business isn’t always instagram-perfect.
Knowing themselves seems to be at the core of their success. They try to work with clients who really understand their unique style and will refer clients who seem to want something very different to other designers who can meet their needs better. Compromise with clients and companies is part of the business, of course, but especially when working with big companies, they’ve learned over time to stand up for their needs.
Just do it
Despite their precision about shades of red, Erin and Rose seem to have a fluid working process and approach to their creative work. When asked about the influence of their art backgrounds on Forêt, Rose advises, “If you understand the principles of design you can transform them into another medium.” Whether a painting or a floral installation, she’s working with issues of color, scale and variability. When asked for advice from people interested in following their path, Rose and Erin advocate just starting by getting flowers or other beautiful items and starting to play with them and arrange them in your home.
Creating Connections One of the elements Rose and Erin love most about being based at Fringe Union and in Somerville is being part of the inspiring creative and small business community. Fringe Union members give each other advice, expand each others’ networks, and they collaborate. The audience at the Creative Somerville Series was filled with fellow Fringe Union members, and one of the last works Erin and Rose showed us was an amazing floral arrangement they made as part of a moody photographic collaboration with a fellow Fringe resident. In addition, the ladies develop long-time relationships with local growers and suppliers, and try to source as much material as they can locally.
The core relationship, of course, is that of best friends and now business partners, Rose and Erin. One story they told seemed to encapsulate it all: One day, before founding Forêt, they both spontaneously decided to buy the other flowers. They showed up at each others’ houses and found each other gone–they had missed each other on the way to each other’s houses.
Cosmic connection indeed.
The Creative Somerville Series is a series of ‘fireside chats’ with local creatives & entrepreneurs in design, tech, food, social impact, and other fields–celebrating the creative and entrepreneurial energy that makes Somerville great. The Creative Somerville Series is not your typical power point and Q&A. Our fireside chats are about getting to hear someone’s story, learning about how they think and create, and sharing ideas in an intimate setting. Cosponsored by Somerville Local First and The Somerville Beat.
RSVP here for tickets for our next event on 4/29 with Trevor Holmes of Wistia.
What the hell is a Gifpop? You take a gif (you know, the usually funny images that run on loops online) and turn it into a physical print, using a technology called lenticular printing. (Printing on raised lentil shaped corrugations, it seems.) It brings your favorite gif off the screen and into a piece of art.
Why would you want to have a gifpop, you might ask? Because maybe you really want your favorite Feminist Ryan Gossling winking adorably at you from your bedroom wall? Because it’s just cool? Because it’s awesome to push the limits of technology and play with the relationship between the digital and the physical?
Gifpop is just one of the many ideas brought to life by Sha Hwang, designer technologist and entrepreneur.
I met Sha a few years ago when I interviewed him for a startup I was working on in a class at Harvard, and we’ve kept in touch since. We chatted last week about his unorthodox journey from architecture and on.
Sha’s story is pretty impressive. He’s the cofounder of a successful startup—Movity which visualized neighborhood data (like crime rates, and noise levels)—which was sold to Trulia in 2010. He was named one of Forbes’ 30 Under 30 in Real Estate and in 2013, Sha was recruited as part of the ‘tech surge’ to help save HeatlhCare.gov.
From Architecture to….Out of the Box
Sha graduated with an architecture degree from UC Berkeley. While he enrolled, not intending to practice architecture (architecture was the closest he could get to industrial design,) by the time he graduated he was “sold on the idea of practicing.” He worked first at IwamottoScott, an architecture firm known for its concept-heavy work, and interest in computation and fabrication techniques.
Working at IwamottoScott fueled Sha’s growth. IwamottoScott was exploring concepts that required the use of new technologies: He was learning processing and other programming techniques, 3D animation and rendering. Competition work was a big part of Sha’s workload and it was experimental and exploratory.
Sha left the firm to move to New York City, and landed at a small residential firm, and that’s where he “hit a wall.” I was “becoming a real architect,” he says, working with contractors and focusing on detailing and construction, but “I stopped learning new skills and the pace of work slowed down.”
While working at this practice, Sha kept pursuing projects on the side, and one day, while working on a competition with a friend, realized he’d rather work on the competition than go in to work every day. He put in his two weeks notice. “I left my job without a real plan,” he says.
“It wasn’t about the competition, in retrospect,” he muses, which the team ultimately didn’t win. Not only was being a “real” architect slow, but Sha missed the “theoretical rigor of conceptual architecture.” Professional practice was much less about “questioning assumptions” and more about “designing in the context of tight constraints.”
After quitting his job, Sha freelanced for a time—his skills in rendering and animation made him marketable, and eventually moved on to Stamen Design, a research and design firm well-known for their data visualizations. Sha loved the work, and there, his talent at “making complex datasets and systems more human” began to take shape.
Designer to Owner In his two years at Stamen, Sha began to notice that his practice was making incredible tools for clients, but ultimately, “we didn’t own any of the things we made.”
Enter….. his future cofounder, and not in a way you might expect. One day, Sha was teaching a three hour Adobe Illustrator workshop, and happened to meet Eric Wu, a serial entrepreneur who was interested in getting into real estate. A few minutes of chatting turned into a lunch, with Eric and Sha exchanging ideas, showing each other work, and the partnership that would draw Sha out of professional services, and into starting his own company, Movity, was formed. Movity took Sha’s passion for data visualization and cities, and turned it into a product that created value for users, by helping them make better decisions about where to move to. Movity got into Y Combinator, and eventually was bought.
Systems, Not Objects Fast forward, Sha was handpicked to take his design and ‘humanizing information’ skills to a new level as part of the Healthcare.gov team. Healthcare.gov has been a “complicated beast,” Sha says, but his experience with it exemplifies one of the key facets of his approach to design–designing from a systems perspective. His task on Healthcare.gov was to design a “visual language that could be reused all over the place” and make the complex process of shopping around for health care simple, clear, and easy to understand for users.
This systems approach underlies Sha’s approach to design and has been a thread that has run though his work since the beginning. “When I look back at the work I was doing in school,” he says, “I was mapping sites, doing analysis, thinking more systemically about assembling form.” This interest in cities and their data and patterns, meant that he had a very specific take on architecture: I was “more interested in designing cities, than designing precious objects.”
Sha’s side projects exemplify this: Both Gifpop and Meshu (a service for users to make network maps of their favorite locations in a city and turn them into custom jewelry) which he founded with friend Rachel Binx, are more about designing a process, than designing, and mass manufacturing an object.
The pattern underlying Sha’s developments and pursuits has been a drive to keep learning. “For me, it was about skills and continuing to develop skills,” he says. An “impatience about seeing more and getting to develop technically,” has been the guiding light of his unique journey. Sha also has a willingness to take risks and let the world surprise him: A competition he’d rather work on than go to his job leads him to the next stage; a surprise meeting at a three-hour Illustrator class leads him to cofounding a company.
Sha’s path may not be conventional, but it shows the potential of design as a tool to tease out new ways of structuring and understanding our world, to create products and experiences that drive better outcomes, and even to create cool stuff, just cuz. In Sha’s words, design is that wonderful, complex “chaotic meander,” and just because it’s not a straight line, doesn’t mean it doesn’t produce value at scale.
Most people of course, know Issuu, an online host for documents with an interface that simulates a page flipping. I use Issuu for my design portfolio and Northeastern hosts my Emerging Modes of Architecture Practice research publication on it. I even like the look of feel of Issuu so much that sometimes, when I’m putting together a package of work samples, I’ll screenshot my research document ‘pages’ because it looks nicer than a flat PDF and is a lot easier than setting up a photo shoot of the actual, physical publication.
I just ran across another service that works in that way–it’s called Ready Mag and it seems like a tool that unifies the experience and control of layout programs like Indesign, and the power and interaction of the parallax/interactive page experience.
I found it through viewing this piece on Fashion4Freedom–a social enterprise that works with Vietnamese women to produce high fashion products using traditional techniques. The web publication I stumbled across lays out their story using modern imagery mixed with historic drawings, and maps, linework, information. Its like a beautiful book, with the slightly deconstructed, layered 1980’s/early 90’s look that I’ve loved since I first got interested in graphic design–with an added plus because the content and elements can start to “come off of the page” due to its interactivity. The interface generally scrolls left to right, like a traditional book, but when there’s more information to dig down into you can scroll down. It’s a very spatial and satisfying experience.
I don’t know much about Fashion4Freedom, but their shoes are quite amazing, and I absolutely love the way they are laid out in this publication (pages 9 and on.) Fashion is fickle, and so the ups and downs of tastes in the market are tough for any designer to handle, much less one who is committing to and training a specific workforce–but it seems like there’s promise in the margins of a high end product, especially if you can start to develop a larger market for it and scale it.
I recently watched one of those TED talks that helps you see the structural underpinnings that were always there, but invisible to you. Titled, The Career Advice You Probably Didn’t Get, it features Susan Colantuono, who founded Leading Women, a consultancy that helps companies close the gender gap.
Colantuono speaks about what she found to be a common experience: Women, who have made it to middle management, who just can’t seem to keep moving up to senior leadership positions.
The problem, is that ‘what got you here won’t get you there.’ There are three components she sees to leadership: 1. Doing great work 2. Engaging others to get the best work from them (good management) 3. Using business and strategic acumen and help the business grow it’s bottom line.
The problem, Colantuono says, is that women are taught to perform on the first two components, and not often taught or mentored on the third…..and the first two components are what allow you to rise in an organization, but the third is absolutely necessary to move to the top.
Business and strategic acumen is so centrally important to senior leadership that Colantuono describes an experience where she polled senior executives on what characteristics were necessary in high potential employees. None spoke explicitly about business and strategic acumen, but when she asked about skills such as understanding the competitive environment and crafting strategy, understanding the financials and responding to them, the executives all said, “That’s a given.”
Yet, Colantuono has found, in women’s performance reviews and mentor relationships, most attention is focused the first two topics and very little on the third. She even relays a story of an executive she worked with who realized that he was currently mentoring a man ‘to learn the business’ and a woman to ‘build confidence’ and didn’t realize he was treating them differently.
So what does it meant to build business and strategic acumen? There’s a lot of components to it but there’s one I specifically want to focus on: Knowing the numbers.
Some of Utile’s competitive advantage, Love believes, is that they really try to understand the numbers. They try to understand the pro formas and the key numbers that define opportunities for the developers they work with, because they help them understand the choices that developer will make. Then the cost per square foot is not just what Utile has to design to, it’s a target linked to a larger context of risk, comparables, and the other factors that make up the larger building and business decision.
The numbers don’t only have to be financial: Identifying key metrics tied to value creation is one of the skills of financial and business acumen. Can you demonstrate that your new strategy led to a lower recidivism rate, or a lower turnover rate, or an increase of x% in word-of-mouth sharing? Why do these factors matter and can they be translated into money saved for the company or taxpayers?
I’m speaking this week at a Harvard Design School January Term course on my research on design business models. The topic: “Getting Down with the Business of Design.” It’s a broad introduction to the business of design by Masako Ikegami and Chris SooHoo with an emphasis on emerging professionals, and there’s a great segment, taught by Ikegami where students get down with spreadsheets and work backwards from a desired salary to what budget project they need to bring in to attain that salary.
Design is about relationships, but it’s also about scale. It’s about proportions and thresholds. It’s not just about A being adjacent to B, but it’s also about how much A per B? If you want to create a feeling of a vista, how big do you need your open area to be in order for it to really get the feeling across? How much water would you need to save from rainfall off of your site to make a cistern worth it?
These are the questions that are underemphasized in today’s liberal arts education, where the principles often matter more than the details, and they, in my experience, were underemphasized in my graduate training (with the exception of a few teachers.) These are the questions that seem to hit young professionals sometimes violently, in their first few years of practice, and they matter because they are how the abstract becomes real.
How much? How long? How many hours? What percentage of the budget? What level priority? Integrating this way of thinking has helped women Colantuono knows move past being stuck and into the next level. My central advice to student’s in the Jterm class this week will be to learn how to identify value and then to make sure they can measure it in numbers as well as in words.