Workshop delivered by Huddle Academy for ALIA Online 2015, February 2, Sydney, Australia. Workshop outline: Customer expectations are continually increasing, demanding more personalised and customised services and experiences. As a result, understanding your customers and designing services and experiences for them is critical in drawing them to engage with your organisation. Simultaneously it is essential to understand the people in your organisation and enable them to be adaptive to changing needs and to provide them with enjoyable and meaningful work experiences. This means being in service to your customers as well as the people who work in your organisation. This one day workshop is for those who are seeking to be more effective leaders through developing a human centred mindset. It will focus on building your understanding of the value and principles of being human centred. These principles include putting people first through being empathic, curious, collaborative, and courageous. You will learn methods for how you can better understand your customers and your organisation for the benefit of designing and delivering amazing services and experiences. We will do this through a range of practical hands on activities where you will have the opportunity to experience a set of tools you can apply within your workplace.

1. 1
Hello amazing people!
Welcome to Designing a human
centred mindset to lead at the edge.

2. Step one:
Admin-y bits.

3. Dr Zaana Howard
Huddle Academy Lead
@zaana | zaanahoward.com
@wearehuddle | wearehuddle.com

4. Human centred design
Morning tea
Mindsets
Lunch
Empathy
Afternoon tea
Empathy in practice
Reflection
All the things.

5. Be present
Done, not
perfect
Be open
Work
together
Be flexible
Circle of
trust
Ground rules.

6. The marshmallow challenge.

7. The challenge.
20 pieces of spaghetti
1 metre string
1 metre tape
1 marshmallow
18 minutes
= a tower of what height?

8. Instructions.
1. Build the tallest free standing structure.
2. The entire marshmallow must be on top.
3. Use as much or as little of the kit.
4. Break up the spaghetti, string or tape.
5. The challenge lasts 18 minutes.

9. 18 minutes.
Go!

10. Measure up.

11. Reflection.
http://www.ted.com/talks/tom_wujec_build_a_tower?language=en

12. What is
human centred design?

13. Human centred design
Service design
Customer experience
Design thinking
others?
13

14. Key = people.

15. Customer
first
Be
curious
Be
collaborative
Be
courageous
Customer led by design
principles.

16. 4
Customer first.
Being in service of.
A customer is a person you are in
service of. They might be an internal
customer within an organisation or
an external customer of a product
or service the organisation creates.
Have empathy for your customer.
Engage with and seek to understand
all aspects of them. Observe
customers and their behaviour in
the context of their environment,
experience and lives. Put aside
your own bias, and understand
the underlying problem.
Always seek understanding of context
and don’t get lost in the particulars.
This requires a holistic view which
questions how everything fits together.

17. 5
Be curious.
Always learning.
Curiosity and learning underpins
creativity. Allow yourself to be
curious and inquisitive about the
world. See everything as if for the
first time. Cultivate the inner detective
in you, and investigate things that
interest you, that naturally draw your
attention. Be non-judgemental and
accepting. Ask why a lot.
Be playful in your curiosity and follow
your instincts. Prototype to think and
learn. Experiment with existing things,
build new things, test them. See how
they go in the wild. If it doesn’t work,
learn from it and go again.

18. HUDDLEACADEMY•ACT1
6
PRINCIPLES•BECOLLABORATIVE
Be collaborative.
Valuing diversity.
Collaboration is enabled through
considered conversation and
reflection. A group of people
collaborating opens up more
opportunity and possibility than
an individual working solo as per
the saying ‘all of us is smarter than
any of us’. Multiple perspectives
enables a holistic understanding of a
situation. Bring together people with
varied backgrounds and viewpoints.
Be inclusive and value people’s
diverse perspectives and experiences.
Enable breakthrough insights and
solutions to emerge from diversity.
Build upon ideas and create together.
When collaborating and reflecting
be humble, honest and respectful.
Be objective, enabling and open.
Be present and bring lightness.

19. 7
Be courageous.
Believing in possibility.
Have courage to believe anything is
possible. Know that any challenge
can be overcome with creativity and
collaboration. Courage is a belief in
the power of creativity and people.
It is underpinned by optimism
and a belief that you have a say
in creating the future, even when
things are messy or complex.
Being courageous seeks to know
truth which means giving yourself
the permission to challenge and
question. It exudes confidence
and clarity, while being authentic,
honest and respectful.

20. Design
maturity.

21. 10
Design process and practice.
The design process can be depicted in a multitude of ways. While the stages often
have different labelling the overall sentiment of the process stages is consistent.
Design moves from process to practice through experience and mastery.
The design process is often depicted as linear.
This matches traditional modes of working and
in business.
As mastery develops through experience the
true iterative nature of design becomes apparent,
and that it cannot be represented or conducted
in a linear fashion.
THE DOUBLE DIAMOND WAS ORIGINALLY
CREATED BY THE UK DESIGN COUNCIL.
HUDDLE’S DESIGN PRACTICE MODEL.
Discover Define Develop Deliver
Gathering
Story telling
Reflecting Creating
Foundations Making sense
Design process and practice.
The design process can be depicted in a multitude of ways. While th
have different labelling the overall sentiment of the process stages is
Design moves from process to practice through experience and mas
The design process is often depicted as linear.
This matches traditional modes of working and
in business.
As mastery deve
true iterative natu
and that it canno
in a linear fashion
THE DOUBLE DIAMOND WAS ORIGINALLY
CREATED BY THE UK DESIGN COUNCIL.
HUDDLE
Discover Define Develop Deliver
Reflecting
Foundation

22. 10
Design process and practice.
The design process can be depicted in a multitude of ways. While the stages often
have different labelling the overall sentiment of the process stages is consistent.
Design moves from process to practice through experience and mastery.
The design process is often depicted as linear.
This matches traditional modes of working and
in business.
As mastery develops through experience the
true iterative nature of design becomes apparent,
and that it cannot be represented or conducted
in a linear fashion.
THE DOUBLE DIAMOND WAS ORIGINALLY
CREATED BY THE UK DESIGN COUNCIL.
HUDDLE’S DESIGN PRACTICE MODEL.
Discover Define Develop Deliver
Gathering
Story telling
Reflecting Creating
Foundations Making sense
HUDDLEACADEMY•ACT5
10
FRAMING•DESIGNPROCESSANDPRACTICE
cess and practice.
can be depicted in a multitude of ways. While the stages often
ing the overall sentiment of the process stages is consistent.
process to practice through experience and mastery.
is often depicted as linear.
ional modes of working and
As mastery develops through experience the
true iterative nature of design becomes apparent,
and that it cannot be represented or conducted
in a linear fashion.
DIAMOND WAS ORIGINALLY
THE UK DESIGN COUNCIL.
HUDDLE’S DESIGN PRACTICE MODEL.
e Develop Deliver
Gathering
Story telling
Reflecting Creating
Foundations Making sense
Design process and practice.
The design process can be depicted in a multitude of ways. While the stages often
have different labelling the overall sentiment of the process stages is consistent.
Design moves from process to practice through experience and mastery.
The design process is often depicted as linear.
This matches traditional modes of working and
in business.
As mastery develops through experience the
true iterative nature of design becomes apparent,
and that it cannot be represented or conducted
in a linear fashion.
THE DOUBLE DIAMOND WAS ORIGINALLY
CREATED BY THE UK DESIGN COUNCIL.
HUDDLE’S DESIGN PRACTICE MODEL.
Discover Define Develop Deliver
Gathering
Story telling
Reflecting Creating
Foundations Making sense

23. 10
Design process and practice.
The design process can be depicted in a multitude of ways. While the stages often
have different labelling the overall sentiment of the process stages is consistent.
Design moves from process to practice through experience and mastery.
The design process is often depicted as linear.
This matches traditional modes of working and
in business.
As mastery develops through experience the
true iterative nature of design becomes apparent,
and that it cannot be represented or conducted
in a linear fashion.
THE DOUBLE DIAMOND WAS ORIGINALLY
CREATED BY THE UK DESIGN COUNCIL.
HUDDLE’S DESIGN PRACTICE MODEL.
Discover Define Develop Deliver
Gathering
Story telling
Reflecting Creating
Foundations Making sense
Design process and practice.
he design process can be depicted in a multitude of ways. While the stages often
ave different labelling the overall sentiment of the process stages is consistent.
esign moves from process to practice through experience and mastery.
The design process is often depicted as linear.
This matches traditional modes of working and
in business.
As mastery develops through expe
true iterative nature of design becom
and that it cannot be represented o
in a linear fashion.
THE DOUBLE DIAMOND WAS ORIGINALLY
CREATED BY THE UK DESIGN COUNCIL.
HUDDLE’S DESIGN PRACTICE MOD
Discover Define Develop Deliver
Gathering
Story telling
Reflecting Crea
Foundations Makin
ign process and practice.
sign process can be depicted in a multitude of ways. While the stages often
ifferent labelling the overall sentiment of the process stages is consistent.
moves from process to practice through experience and mastery.
e design process is often depicted as linear.
s matches traditional modes of working and
business.
As mastery develops through experience the
true iterative nature of design becomes apparent,
and that it cannot be represented or conducted
in a linear fashion.
THE DOUBLE DIAMOND WAS ORIGINALLY
CREATED BY THE UK DESIGN COUNCIL.
HUDDLE’S DESIGN PRACTICE MODEL.
Discover Define Develop Deliver
Gathering
Story telling
Reflecting Creating
Foundations Making sense

24. Fill your cup.

25. 25
Human centred
mindset.

26. Mindset = perspective.
Determines how you behave & interact in the world.

27. Mindset comprises of intention
and stance.

28. Stance.

29. Intention.

30. Mindset
Knowledge
sets
Skill
sets
Tool sets
From Nelson & Stolterman (2013), The Design Way.
Competency
sets.

31. Mindset
Knowledge
Set
Skill
Set
Tool Set
Key focus in design
is knowledge, skill
& tool sets.
Competency
sets.
From Nelson & Stolterman (2013), The Design Way.

32. Mindset is the
secret sauce.

33. Beginner’s mind: the mindset of forever
learning, seeing things a new, living in the
present not in the past.
Liquid mind: ability to change
perspectives and positions on things.
Open mind: inviting to new perspectives
and beliefs.
Creative mind: belief in the ability that
everything is up for question, anything
can be changed in creative ways.
Disciplined mind: practices of mindfulness
that nurture our mindset.
Aware mind: situational awareness
Whole mind: seeing the whole, connected
system.
© This is Dr Harold Nelson and Huddle’s intellectual property.
Attributes
of a
human
centred
leadership
mindset.

34. Experience: when we rely too much on
experience, we prevent seeing things a
new.
Expertise: knowing what type of expertise
we have, and what type we need.
Singular perspective: believing that your
perspective is the only one and is right.
Lack of awareness: not being mindful and
aware of the whole situation.
Object focus: Focus on the thing, rather
than the system.
Lack of courage: yep.
Externalisation: believing that the solution
or problem is external to you.
Habits that
block this
mindset.
© This is Dr Harold Nelson and Huddle’s intellectual property.

35. TWO MINDSETS:
GENERATIVE + RECEIVING
Belief in agency
Sense of self
Locus of control
Influencing
factors.

36. TWO MINDSETS:
GENERATIVE + RECEIVING
It’s a
continuum.
+

37. Knowledge, skill and tool sets
are tangible.

38. Mindset is more like air
and is intangible.

39. Mindset changes how knowledge, skill
& tool sets can be applied.

40. Shifting mindset
shifts the outcomes.

41. You choose the mindset you bring.

42. Dr Carol Dweck
“You have a choice.
Mindsets are just beliefs. They’re powerful beliefs,
but they’re just something in your mind, and
you can change your mind.”

43. Mindset
enactment.
43

44. Beginner’s mind: the mindset of forever
learning, seeing things a new, living in
the present not in the past.
Liquid mind: ability to change
perspectives and positions on things.
Open mind: inviting to new perspectives
and beliefs.
Creative mind: belief in the ability that
everything is up for question, anything
can be changed in creative ways.
Disciplined mind: practices of
mindfulness that nurture our mindset.
Aware mind: situational awareness
Whole mind: seeing the whole,
connected system.
Attributes of a
human centred
leadership mindset.
Experience: when we rely too much on experience,
we prevent seeing things a new.
Expertise: knowing what type of expertise we
have, and what type we need.
Singular perspective: believing that your
perspective is the only one and is right.
Lack of awareness: not being mindful and aware
of the whole situation.
Object focus: Focus on the thing, rather than the
system.
Lack of courage: yep.
Externalisation: believing that the solution or
problem is external to you.
Habits that
block this mindset.
© This is Dr Harold Nelson and Huddle’s intellectual property.

45. 45
Mindset enactment
reflection.

46. 46
20
MINDSET
Learning for development.
WHAT
The mindful reflection canvas is
a structured tool that guides you
through a process of reflecting
on a situation to learn, celebrate
successes and identify
opportunities for development.
WHY
Reflection allows you to continuously
learn and improve your work and
practice. It is important to not only
reflect on the factual aspects of
the situation but also your mindset,
emotions and actions.
WHEN
This can be used at any time to
reflect on a challenge, a situation,
an opportunity or a project. It can
be used individually or in a team
PROGRAM CONTEXT
This is the framework to enable
you to reflect upon how you
have applied customer led mindsets
within different situations.
TOOL #6
Mindful reflection.
Reflect, learn, go again.

47. 47
Mindful reflection.
WHAT PRINCIPLE
AM I REFLECTING ON?
WHAT SITUATION
AM I REFLECTING ON?
WHAT DID I DO SUCCESSFULLY?
WHAT QUESTIONS DO I HAVE?
WHAT DID I FIND CHALLENGING?
WHAT WOULD I DO
DIFFERENTLY NEXT TIME?

48. Fill your
belly.

49. EMPATHY
Empathy.
https://www.youtube.com/watch?v=1Evwgu369Jw

50. 50
We show empathy
through curiosity & being in
service of others.

51. Self
Customers
Colleagues
Organisation
Four levels of
empathy.

52. Open ended questions.
How questions.
Prompt answers regarding the
process of interaction.
Why questions.
Prompt people to discuss reasons
for their choices and behaviour.
What questions.
Assist in understanding the situation
or to obtain clarity.
Contextual
curiosity.

53. Channels we listen from.
Channel 0: tuned out
self displacement - not present
Channel 1: ego
judgmental - listening to self
Channel 2: affirming
familiar - listening for similarity
Channel 3: critical
factual - listening for evidence
Channel 4: empathic
dialogue - with other about other
Channel 5: generative
insight - with self for other
Listening &
awareness
channels.
© This is Dr Harold Nelson and Huddle’s intellectual property.

54. Deep design.

55. Deep Design Schema.
LEVEL 1 APPEARANCES
AND EXPERIENCES
How would you describe
the appearance and
experiences of your
chosen personal artefact?
LEVEL 2 OUTCOMES
AND OBJECTIVES
How would you describe
the objective of your
artefact? What outcomes
does it achieve?
LEVEL 3 DIRECTION
AND STANCE
How would you describe the
importance this artefact has
within the context of your
life journey? How does it
influence your state of being
in this journey?
LEVEL 4 HIGHER PURPOSE Why is this artefact so
important to you?
Adapted from Nelson & Stolterman (2013), The Design Way.

56. 56
Reflection.

57. Stretch!

58. Empathy
in practice.

59. HUMANIC
Humanic factors include the people
involved and their relationship, their
behaviour, emotions and appearance.
ENVIRONMENTAL
Environmental factors include the
space (physical or virtual), and the
sensory presentation and perception
of the situation or experience. This can
includes what people see, smell, hear,
taste and feel. Environmental factors
often create expectations and provide
first impressions of the situation.
FUNCTIONAL
Functional factors are largely related
to the technical quality and reliability
of the process within the situation.
It asks if the service or experience is
dependable and accurate. It sets the
baseline expectation for how things
are or should be within the situation.
Contributing factors to complex situations.
There are three main factors
to consider to assist in
understanding and mapping
a complex situation or
experience. These are
humanic factors, contextual
and environmental factors
and functional factors.
Factors are often interrelated
and interdependent.
HUMANIC
FUNCTIONAL ENVIRONMENTAL
Adapted from Berry, LL, Wall, EA, & Carbone, LP. (2006). Service clues and customer assessment of service experience:
Lessons from marketing. Academy of Management, May, 43-57.

60. HUMANIC
• Who are the actors involved?
What are they doing?
• How do they behave?
• How are they feeling?
• How do the actors relate?
ENVIRONMENTAL
• What are the geographic elements?
• Where is the space?
• How is the space set up?
• What is the context of the situation?
• What are people seeing, smelling,
hearing, tasting and feeling?
FUNCTIONAL
• Does the process flow?
• Does everything work as it should?
• Is it reliable and dependable?
Considerations in complex situations.
The three main factors
assist in understanding
and creating the what,
how and wow of the
situation or experience.
In mapping a complex
situation there are several
questions related to each
factor to consider:
These create the
‘how’ of the service
or experience.
Within this the
understanding of
and commitment
to people within the
situation is revealed.
It represents the
emotional perception
of quality and creates
the ‘wow’.
This creates the ‘what’
of the situation or
experience. It reveals the
reliability, competence
and cognitive perception
of quality. It represents
the baseline expectation
within a service
or experience.
HUMANIC
FUNCTIONAL ENVIRONMENTAL
Adapted from Berry, LL, Wall, EA, & Carbone, LP. (2006). Service clues and customer assessment of service experience:
Lessons from marketing. Academy of Management, May, 43-57.

61. 15
HUDDLEACADEMY•ACT4TOOLS•MAPPINGCOMPLEXSITUATIONS
Mapping complex situations.Mapping complex situations.
WHAT IS THE SITUATION YOU ARE MAPPING?
HUMAN
• Who are the people?
• How do they relate
and behave?
FUNCTIONAL
• What is the process?
• Does it work
as expected?
ENVIRONMENTAL
• What is the physical
environment?
• What do you see, hear,
taste, smell and feel?
Start by choosing one factor
to map. Overlay the other two
factors in relation to the first.
Depending on which factor
you start with, the situation
will map differently.
TOOL
TEMPLATE

62. How might we…?

63. HUDDLEACADEMY•ACT2
14
TOOLS•HOWMIGHTWE?
MINDSET
Creating possibility.
WHAT
The how might we framework
provides a guide to creating open
and actionable questions to ideate
and design from.
WHY
How might we questions provide an
opportunity to consider a problem
or opportunity from a generative
perspective. It opens possibility –
as well as providing a scope to
focus upon.
WHEN
How might we questions can be
used in a range of circumstances:
to create design questions to guide
the design process; to provide
a frame to ideate solutions from.
It is also useful to use ‘how might we’
questions to reflect on the design
process itself (for example how might
we iterate this current solution?)
PROGRAM CONTEXT
You used the How might we?
framework to develop a design
question for a persona in the context
of the holiday journey mapping activity.
TOOL #3
How might we?
What is possible?

64. How might we?
MIX AND MATCH NEEDS AND INSIGHTS TO CREATE
A DESIGN QUESTION FOR YOUR SITUATION
PROBLEM OR OPPORTUNITY
What problem or opportunity are you focusing on today?
NEEDS
What needs have you identified? What needs to be achieved?
What is the desired outcome?
INSIGHT
What have you learned about the situation?
What interesting things did you find? What conclusions can you draw?
HOW MIGHT WE
SO THAT
?
HOW MIGHT WE
SO THAT
?
HOW MIGHT WE
SO THAT
?

65. Reflection.

66. “And it ought to be remembered that there
is nothing more difficult to take in hand,
more perilous in conduct, or more uncertain
in its success, than to take the lead in the
introduction of a new order of things.
Because the innovator has for enemies all
those who have done well under the old
conditions, and lukewarm defender in those
who may do well under the new.”
Machiavelli
The Prince
A word on courage.
(intended as a message to provide thought).

67. Exhale.

68. Fin.
Dr Zaana Howard
Huddle
zaana@wearehuddle.com
wearehuddle.com