Clive Holtham
Bull Information Systems Professor of Information Management,
City University Business School
Frobisher Crescent
Barbican Centre
LONDON EC2Y 8HB
+44-20-7477-8629
c.w.holtham@city.ac.uk

We would particularly like to thank Colin Michell, Angela Dove and Judah Passow.

PROLOGUE

This story starts with an odd pilgrimage to the Sinai desert in early 1997.

A far cry from a garden shed. A training trip to stay under the stars with an uneasy mix of inner City project, Big Issue vendors, investment bankers, Bedouin nomads, the film crew from the Big Issue and the journalist/photojournalist team from the Mail on Sunday, looking for easy pickings on a privileged/dispossessed kind of story which would suit the appetite of Middle England. It was there that Victoria, one of the authors, met the photojournalist. It was because the photojournalist was experimenting in new media that he ended up at a funded project at the ICA. The project, experiments in digital photojournalism and storytelling, ended up as Sparknow Event 001.

It was because Nigel Courtney persuaded a reluctant Clive to come along to this event that Clive and Victoria found and developed their mutual interests in knowledge and space. And the chance encounter with the ICA led to a talk by Victoria on knowledge management to students at the ICA in November 1999. It was because Christine Atha, then Head of Education at the ICA, liked the talk that she remembered it when curating an exhibit contributed by students from British Art Schools, for the Design Council in April 2000. So it is just before this, in around February 2000, that all of this history, and that of the various participants, was somehow brought to bear on the design of a garden shed as an artefact conveying Sparknow's brand values.

Read on.

"Interactive anything is the wrong word. The right word is unfinished"
Brian Eno, Wired, May 1995

1 CONTEXT
1.1 Knowledge management context
Broadly, the theory and practice of knowledge management derives from two sources: management theory (knowledge as a managerial concept) and accounting theory (accounting for knowledge and intellectual capital.). It is also possible to identify four models. This classification, although crude, has the merit of having been developed with David Snowden at IBM, and in extensive debate with others as well as through experience. This means there is some broad consensus, albeit accompanied by heated debate as to boundaries, terminology and all that. In crude chronological order of evolution, the models are:

„h The mechanical model ("it can all be solved by overlaid structured process")
„h The technological model ("it can all be solved by search agents and datamining")
„h The market model "it can partly be solved by creating markets, exchanges and measuring systems which prompt the formalisation, valuation and exchange of intellectual and social capital"
„h The emergence or biological model ("it is too complex to solve, but understanding the rules of interaction in a complexity model, and exploiting the links between a coherent framework and anarchic success bubbling up from direct action will create substantial innovation and sustainable successes")
Adapted from Sparknow submission to The Government's Competitiveness White Paper "Our Competitive Future: Building the Knowledge Driven Economy" December 1998

It is the last, which is most significant. Successful, organisational structures are now often described, in an organic metaphor, as Complex Adaptive Systems (CAS), systems, which learn from and organise themselves and so evolve (Kauffmann 1995). As David Smith from Unilever put it to one of the authors almost forget sometimes that we arrived at knowledge management from strategy and look to biological and CAS forms as new organisational structures - because that is what organisations are. So CAS is not a way of looking at organisations - organisations are CAS, i.e. they have self acting agents (humans) acting within a set of design principles and the result is emergent and unpredictable.

In effect, any models of knowledge management or conscious planning for knowledge transfer can only be effective within the understanding that individuals, networks and organisations are complex and adaptive. Mutual interdependence is an essential part of effective collaboration.. This implies a fundamental rethinking of effective organisational structures. Weick (1995) quotes Myer (1982) on the balance between formal and informal structure on which successful organisations depend:

"Since robust ideologies incorporating harmonious values elicit self control and voluntary co-operation, they can substitute for formal structures designed to achieve the same ends. successful decentralisation is preceded by centralisation on core values. Tight control over core values allows loosely coupled systems to survive and cohere through idiosyncratic local adaptation."

How does this fragmentation, decentralisation and inversion of previous business models impact on the creation of different types of knowledge space for work? It is appropriate to consider theories of management learning before pursuing this question.

1.2 General theories of management learning
We draw on an earlier empirical study of executive learning (Holtham and Courtney, 1998). During the 1960s there was a movement in favour of a "less classroom, less hierarchical" form of management education (Revans, 1978), rooted in managers analysing their own situation and in sharing their experiences with peers. The proposed process would require a physical environment, not dissimilar to the atelier of an artist, to be created for accelerating practical learning of both novices and more experienced practitioners (Argyris & Schon 1978). This was action learning and it led to Kolb's observation that "experiential learning is a process that links education, work and personal development" (Kolb 1984) and the concept of the reflective practitioner (Schon 1983). The conclusion from the fieldwork of our own study (Holtham and Courtney, 1998) had four key findings:

1. A variety of approaches are required. Those involved in skills development is often attracted to particular approaches to personal and organisational development.
2. The learning process must be dynamic and overcome asynchronous friction. The results indicate strong top level buy-in to the asynchronous learning processes and materials. But most of the asynchronous electronic discussions have failed to achieve anything like the critical mass of users needed to lift this learning option above the lower levels.
3. Metaphors speed up managerial learning. During the development of the learning materials we observed that a majority of participants took readily to the use of metaphor see Turner (1974) for an indication of the general power of metaphor. But the impact of metaphors can be variable. They were regarded as extremely powerful by some executives, and seen to be trivial by others.
4. The acquisition of strategic skills is motivated by perceived business benefit. It is essential for executives to be able to internalise the problems and their solutions.

1.3 Constructivist learning and situated learning
Brown, Collins, & Duguid (1989) discuss how a constructivist model of learning has been proposed as an alternative to the transmission (didactic) model implicit in all behaviorist and some cognitive approaches. The underlying principle is that two kinds of knowledge are created by two kinds of learning. One kind is inert, easily forgotten, and untransferable beyond its initial context of learning because it was "pre-emptively encoded" (Spiro, Coulson, Feltovich, & Anderson, 1988, p. 377) by an expert for transmission to a learner. The other kind is memorable and transferable to novel contexts because learners have encoded it for themselves out of raw data, or at least raised it from a lower to a higher level of organization, by forming and testing hypotheses as professional scientists do (Resnick, 1987; Cobb 1999).

Knowles theory of andragogy (adult learning) aims to differentiate the way adults and children learn. Kearsley identifies the implications of this:
"andragogy means that instruction for adults needs to focus more on the process and less on the content being taught. Strategies such as case studies, role playing, simulations, and self-evaluations are most useful. Instructors adopt a role of facilitator or resource rather than lecturer or grader (1996)."

Lave and Wenger (1991) consider the difference between learning and instruction as a
"shift away from a theory of situated activity in which learning is reifed as one kind of activity and towards a theory of social practice in which learning is viewed as an aspect of all activity ,Kagent, activity and the world mutually constitute each other".

It is this notion of "situated learning" need for knowledge absorption, transfer or creation, which we will take forward in this paper.

1.4 Experimental Learning Spaces
The rest of this paper reviews a collaboration between Sparknow (referred to in the rest of this paper as "Spark", founder Victoria Ward) and City University Business School (Professor Clive Holtham), a conscious decision to experiment with a different type of learning space.

Spark is not a management consultancy, but rather a design, communications and research consultancy that has a small core organisation and then a web of associates, collaborators and clients; the Spark network. The implementation of Spark 005 was therefore, as with all Spark work, a collective and collaborative exercise rather than a hierarchical one.

City University Business School as been active in elements of knowledge management since 1989 via research, teaching and innovation. It has specifically developed a technique for accelerating learning via structural virtual teams (The Dynamic Knowledge Network). The planning work on the new business school due to open in 2002 has led to in depth study of both formal and informal physical spaces to accelerate the creation and sharing of knowledge. This included a specific wish to experiment with novel approaches.

2 WHY A SHED AND AN EXHIBITION?
2.1 The circumstances
By early 2000 Spark had been running events for about a year and seeks, with each event to experiment with a new format. Event Spark 005 coincided with the date by which Spark had to respond to a request, for Design and Education week, to provide a tangible representation of the Spark brand and a presentation for one of the events:

"The presentation you make should be about Knowledge Management. It is particularly about the new knowledge products that you work on and the design management aspects of this. But I also want you to emphasise the methodologies you have employed and the sources that you use. I am keen to elaborate a scenario within which there is a firm understanding of the social, economic, political and cultural interplay. The product for exhibition can be represented by any number of things."

Email correspondence with Christine Atha, 25:2:00

We seized the opportunity to experiment with artefacts and spaces as a representation of situated learning and knowledge transfer. As you will see later, however, this was not where we started.

2.2 A framework for knowledge management
Some background first. (We describe this system for narrative, not marketing purposes, it should be noted.) The Spark consulting method was to be drawn upon directly in both the detailed and overall design of the exhibition. It is based on eight dimensions of knowledge management, which are: Mapping, Experiments, Models, Collections & Libraries, Language & Image, Stories, Membership, Space. These eight "buckets" are used as approximate headings under which to create some kind of order (known internally as the Sparkive) around which to understand, categorise, link and generate new insights from Spark's work, methods, research, stories and expertise.

All new sciences start with "stamp collecting" - the patient accumulation of multicoloured facts which are then stuck into an album until a pattern emerges. This pattern is known as theory and is used to predict other patterns of facts, which may or may not turn out to be correct. Those new patterns which do emerge are then used to create yet more theory and so the subject progresses.¡¨
The Economist, Science & Technology Nov 30th 1996 .

2.2 A framework for considering knowledge and physical space
The exhibition also explicitly drew on a relatively unheralded approach to the role of the physical office, which derived from experimental work by Milan-based design organisation the Domus Academy (1990). We could identify many parallels between the key words in the Domus framework for physical space for knowledge work, and those in the Spark framework for knowledge management more generally: Territoriality, Play, Amenity, Theatricality, Meeting, Status, Erotism.

2.3 A framework for exhibitions, museums and knowledge
Markus (1993) quotes Bacon's four-part prescription for a repository of
knowledge:

1. a library
2. a zoological and botanical garden
3. an experimental laboratory and
4 a goodly huge cabinet, wherein whatsoever the hand of man by exquisite art or engine has made rare in stuff, form or motion; whatsoever singularity, chance, and the shuffle of things hath produced; whatsoever Nature has wrought in things that want life, and may be kept; shall be sorted and included.

The zoological and botanical aspects support an organic metaphor for evolutionary project processes, and there is an even closer relationship between the library, laboratory and "goodly huge cabinet" and our methodology for knowledge management. Markus also usefully contrasts the active learning of a museum with the passive learning of the lecture hall:

"Because a museum is a classifying device, by moving through its space the visitor recovers the entire system. In the auditorium the visitor is stationary and recovers a fragment of the system."

Hein (1995) draws explicitly on constructivism as the fundamental theory underpinning the museum in its educational role:
"By considering both the epistemological basis for our organisation of exhibitions and the psychological basis for our theory of learning, we can develop museums that can respond to the dispositions of our visitors and maximize the potential for learning. The constructivist museum acknowledges that knowledge is created in the mind of the learner using personal learning methods. It allows us to accommodate all ages of learning."

Hein (1997) argues that the "systematic museum", represented in the upper left quadrant is one based on the belief that the content of the museum should be exhibited so that it reflects the 'true' structure of the subject matter. It should be presented to the visitor "in a manner that makes it easiest to comprehend. In contrast, "proponents of the constructivist museum would argue that the viewer constructs personal knowledge from the exhibit." Such museums ¡§allow visitors to draw their own conclusions about the meaning of the exhibition¡K.In such a museum, it is not assumed that the subject matter has an intrinsic order independent of the visitor, nor that there is a single way for the visitor best to learn the material. Constructivist museum exhibits have no fixed entry and exit points, allow the visitor to make his or her own connections with the material and encourage diverse ways to learn¡¨.

So there are parallels in the professional management of museums and collections for again envisaging scope for a constructivist approach. Roschelle (1995) goes further and identifies a role for museums in change:
"Museums are potentially well-positioned as sites for conceptual change. Museums provide the visitor with opportunities to experience authentic objects directly. Cognitive confrontations provoked by interaction with objects are at the heart of Piaget's theory, as well as Dewey's. Museums allow visitors to learn socially in small, voluntary groups. Social discourse is the major means of conceptual change in Vygotsky's theory, as well as the contemporary views of situated learning. Museums can provide novel and challenge settings with opportunities for interaction, contemplation, and inquiry. Dewey focuses attention on the problematic nature of learning experiences, and the need for educators to anticipate the resources that learners will need to resolve the conceptual struggles that arise. Museums can provide intellectual, physical, and social resources to aid in the resolution of problematic experience."

Semper (1990) identifies four roles for education in science museums:
"These comprise curiosity or intrinsically motivated learning in education, multiple modes of learning, play and exploration in the learning processes, and the existence of self-developed world views and models among people who learn science."

Finn (2000) highlighted two key features of US museum designer Applebaum:
"For the new Rose Center for Earth and Space at New York's Museum of Natural History, Polshek designed the Hall of the Universe (an enormous glass box on 81st Street) and the new Hayden Planetarium (the sphere seemingly suspended inside it). Appelbaum made the two teach without lecturing.."

Appelbaum's belief is in "the museum as an agent provocateur". Eighteen million people a year see, and remember what Appelbaum has come up with; they just don't always know it. His exhibitions provoke thought, and attendance.¡¨

We also sought, like Applebaum, to ¡§teach without lecturing¡¨ and to act as an ¡§agent provocateur¡¨.

2.4 A framework for art as ¡¥social sculpture¡¦ ¡V the Multiples of Josef Beuys
In late 1999, there had been an exhibition of some of the work of Josef Beuys at the Barbican. Angela Dove (whose role in this will become clear later) had persuaded Victoria to go, and Victoria had in turn persuaded Clive. Both of the authors were deeply struck about the dynamic influence on ideas and knowledge which Beuys embodied in the vehicles (as he described them) of his art.
In essence, Beuys saw art as ¡¥social sculpture¡¦ that would expand human creativity, its application and the definition of art. ¡¥Social sculpture¡¦ was for Beuys a kind of conscious act to shape the environment and bring it from chaos into some kind of form. He also saw social sculpture as cross discipline and about co-operation and interaction. He often used the slogan Art + Creativity Capital and saw art and creativity as the new currency with which society would be transformed, as the only revolutionary force.
¡¥My objects are to be seen as stimulants for the transformation of the idea of sculpture, or of art in general.
They shall provoke thoughts about what sculpture can be and how the concept of sculpting can be extended to the invisible materials used by everyone:
Thinking Forms ¡V how we mould our thoughts
Spoken Forms ¡V how we shape our thoughts into words
Social Sculpture ¡V how we mould and shape the world in which we live. Sculpture is an evolutionary process; everyone is an artist.
That is why the nature of my sculpture is not fixed and finished. Processes continue in most of them: chemical reactions, fermentations, colour changes, decay, drying up. Everything is in a state of change.¡¦
Beuys, quote by Caroline Tisdall (1980) in an exhibition guide sponsored by the Solomon R Guggenheim Foundation.

Over a twenty year span from 1965 Beuys produced some 625 editioned works, called ¡¥multiples¡¦ which were made from objects, relics, his actions, documentation of events and other materials such as felt and fat. The multiples varied enormously, except in the consistency of the artistic process.
Multiples were also described by Beuys as ¡¥vehicles of information¡¦, used to disseminate ideas. People who owned multiples have some kind of connection with the idea, and so extended the life and reach of the concept. They were also ¡¥stand-ins¡¦ portraying the idea in the absence of the artist, and sparking debate. So the multiple had two important qualities (Beuys 1970
'It's a matter of two intersecting things. Naturally, I search for a suitable quality in an object, which permits multiplication.... But actually, it's more important to speak of distribution, of reaching a larger number of people.'

2.5 A Framework for process as artefact ¡V The Tate Thames Dig by Mark Dion
In 1999, Mark Dion undertook a dig on the banks of the river Thames by the Tate in a project which had three parts and an appendix ¡V the collection, cleaning and identification, then classification and presentation of found objects in a cabinet of curiosities (wunderkammer). The appendix was a series of events and lectures during the summer of 1999. The result was a series of contexts, each reflecting the river differently. In his essay in the book about Mark Dion¡¦s digs (¡¥Archaeology¡¦ 2000), Robert Williams writes:
¡¥Consequently, the project should be viewed as a practice where the processes, encompassing the whole range of activities, becomes the artefact. The process is, itself, analogous to a stratification, it has many different levels to encounter, to explore and to study in each context. The experience of which in its final stage, is as much an archaeological excavation as the methodology and language of the project itself.¡¦
Archaeology includes essays on three digs by Mark Dion, and is formed of essays about the story of the process, classification diagrams, sketches, and pictures, which, in the Tate Thames dig, include pictures of the whole dig team. These, along with the classified artefacts, also formed part of the exhibit on display at the Tate. The exhibit itself was also designed to be interactive, inviting viewers to browse and to excavate contents. Without labelling or interpretative text (except for details of dig locations) the viewer was invited to read and interpret the organisation of the objects in their own way.

3 THE SHED AS AN OBJECT AND A SYMBOL
3.1 A metaphor for learning about knowledge: the Scriptorium
This intangibility of knowledge, and of knowledge management itself, creates great problems to those of us who have to teach and create awareness about knowledge management. There are, of course, excellent books and articles on the subject, plus a growing number of videos and computer-based learning materials. But these are not the only vehicle for communicating understanding. One distinctive approach is taken by John Kao¡¦s Idea Factory, which draws on many of the educational concepts of the primary school. According to Gove (1999) Kao claims that the Idea Factory's blend of strategy, theater, and design brings abstract ideas to life: "It's about creating a shared reality that doesn't exist yet".

What brought our own endeavours to a head was being faced in March 2000 with two overlapping requirements. The first was to run an evening event about knowledge management, which would be ¡§interactive¡¨, and should particularly seek a way of making tangible the intangibles of knowledge management. The second was the invitation, as has been mentioned, was to produce an ¡§exhibit¡¨ on knowledge for the UK¡¦s Design and Education Week, complementing those produced by leading schools of art and design. (Current UK government policy lays particular emphasis on the central role of knowledge in the new economy, and this terminology spans the creative, design and media industries, as well as all other aspects of manufacturing and service businesses.)

This event was designed in the nature of a modern art exhibition, with the purpose being to stimulate attendees thinking about the relationship between knowledge and physical space. This relationship had been highlighted in our earlier work (Ward and Holtham, 2000; Holtham and Ward, 2000) and on the organisation of the Spark event. The event was titled Spark 005, as it was the 5th event in a series which all related to knowledge management, but adopted an artistic or performance-oriented approach.

An early decision was made to create some unspecified type of artefact that could be first used at the evening event and then re-used at the Design and Education exhibition. Until very late, this was to be an oral artefact ¡V a story which would capture the passing listener but have no visible form ¡V the story as vehicle for the elicitation, structuring and dissemination of key insights. It was by chance, at a late stage in the project planning that theatre designer, writer and poet Angela Dove suggested that the artefact should be a garden shed. In one of the appended fragments, Colin Michell tells his version of this encounter.

Angie¡¦s imagination had been stimulated by reading a book on Dr. James A. H. Murray (Murray, 1977). Murray was the first editor of the Oxford English Dictionary, the first volume of which, covering a ¡V ant, ran to 352 pages, cost 12 s 6d and was described on its cover as ¡§New English Dictionary on Historical Principles, Founded Mainly on the Materials Collected by the Philological Society, edited by James A.H.Murray LL.D. Sometime President of the Philological Society, with the Assistance of Many Scholars and Men of Science¡¨. The dictionary, created by Murray from thousands of small slips of paper sent in by volunteer readers grew too voluminous for his house, so he was banished to work in a metal shed in his garden, filled with pigeonholes, which he called his ¡§scriptorium¡¨. (The OED defines this as ¡§a writing-room; specifically the room in a religious house set apart for the copying of manuscripts.¡¨)

Subject: Prototype potting shed

If we use the shed as a metaphor for a cabinet of curiosities, or a
demonstrative encyclopaedia of Sparknow, do we ask the viewer to
participate and if so, how?

I am thinking of a shed lined with sectioned cubbyholes, surrounding a small revolving stool, possibly need a workbench.

Each compartment contains?
Shall we have a system of classification/ labelling? I¡¦m thinking of the great Linnaeus botanical classification system, I have a good book on this story.

I keep thinking of packets of seeds.....germs of ideas, could use seeds as an extension of the metaphor, could be simple and witty, i.e. we could make up our own quasi- seed packets, each one containing?
on each giant packet a picture and instructions. We could make these into well made artefacts in their own right, but that might be prototype shed number 2, as we are so pushed for time.

Of course the plant never does match up to the picture in real life. But we could use that, i.e., a picture of what was expected, and one of what actually grew. Of course the picture could be a plan, or any kind of visual.
but.....for example, and this might not be a good one, could some story of client work be encapsulated like this, description, growing conditions, planting out, helpful hints, picture of result.
this could extend also to "tools" as a metaphor and inside are the 'seeds' this could be ? a piece of text, an image, a
list, several seeds.

Some cubby holes could contain real seed packets, thing is it should feel like a rich repository, lots going on in there.

The part of my brain that thinks in metaphors can only do it in short
bursts, so I'm having a rest now. If you hate all this let me know soon.

Angie
Email from Angie Dove 13:3:2000

At the initial sessions where this idea was developed, it is worth noting that it was only the co-ownership of the event between Spark and CUBS which resulted in the final artefact: Angie made the first connection, Victoria understood immediately from having read ¡§The Professor and the Madman: A Tale of Murder, Insanity, and the Making of the Oxford English Dictionary¡¨ (Winchester 1998) the potential for a Scriptorium as a visualisation and collaborative tool to represent Spark¡¦s identity, while Clive recognised from his work on Renaissance studies and monasteries, the power of reflective, intimate, individual knowledge spaces.

The central artefact developed was a standard 8¡¦ x 6¡¦ wooden garden shed purchased from a garden superstore, and only modified marginally with bolts to allow for it to be put up and taken down repeatedly (see Figure 2). Inside, specially made wooden pigeon holes were added to mimic those of Murray, but more specifically to represent tangibly the logical classification system developed and evolved by Spark. Inside the shed were many additional items hung from the wall and roof in the manner of tools in a garden shed, except these were documents and photographs relating to knowledge management. Advanced publicity described this as the ¡§Scriptorium¡¨. One reason for investing in the shed/scriptorium was because of the offer to place a knowledge exhibit in the subsequent Design Council exhibition, this suggested at the very least an exhibit that could easily be set up off site.

The location of Spark 005 was in the Spark offices at 2 Dufferin Avenue EC2, coincidentally only 200 metres from the current site of CUBS, and only 100 metres from the new site due to open in Summer 2002. The location chosen was a two level office building which actually had some elements of an art gallery due to its conversion from Victorian industrial use, especially extremely high windows. There were exhibits on different aspects of knowledge: liminality, collections, performance, storytelling, physical space and knowledge databases.

The aim of Spark 005 was to stimulate, entertain and inform. It was itself to serve as a source of inspiration and was also intended to provide continuing memories, e.g. by producing a videotape of the event at Spark, and of the subsequent exhibition at the Design Council.

3.2 The particular symbolism of the Scriptorium
According to the Oxford English Dictionary (1989) the relevant definition of a shed is:
¡§A slight structure built for shelter or storage, or for use as a workshop, either attached as a lean-to to a permanent building or separate; often with open front or sides. The special purpose is indicated by a defining word prefixed, as cow-, cart-, goat-, tool-shed.¡¨

It is also worth examining the special but very closely related type of shed, the potting shed. The OED defines potting as:
¡§Planting in, or transplanting into, a pot¡¨

However there is a secondary meaning of the word ¡§potting¡¨ which is very closely related to key concepts in knowledge management:
¡§The act or process of abridging, condensing, or summarizing¡¨

We cannot be ultra precise about what is or is not a shed. There are a wide variety of structures in gardens that overlap in purpose or appearance with garden or potting sheds. These include greenhouses, outhouses, decks etc. None of these appear to have the aura of the garden shed. There are also sheds in other locations. The writer Dylan Thomas worked in a boat shed, which has all the characteristics of the garden shed. Hemingway had a small cabin, perhaps bigger than the garden shed, but also with much of the aura of the shed.

We would not normally draw on extra-rational sources, but it is perhaps worth noting that the Tarot card Ten Of Swords is entitled ¡§A Garden Shed Opens and Reveals the Planet Uranus¡¨. As the last numbered card in the Tarot, it symbolizes old age. Its brick path represents the journey of life, and the tools and objects surrounding it are the events and needs of life. Everything needed to grow through life are in the shed: water from the can, soil in the burlap bag, stakes to make plants stand tall and strong and tools to keep them properly pruned. Human lives are analogous to the plants in a garden and like them can grow and thrive with proper care.

Moving back to academic sources, Markus (1993) saw three contributions of buildings for collections. The first was iconographically ¡V very much the case with the scriptorium. Secondly, ¡§forms work through plans and volumes¡¨, also very relevant to the scriptorium with its strong intimacy arising from compactness. Thirdly, ¡§beyond being paradigmatic or didactic tools, forms work per se. Sometimes they unify the container and the contained.¡¨ This also applied to the scriptorium experience.

There is a lively literature on the garden shed. Smith (1996) identifies small buildings ostensibly to house tools or provide storage for supplies, ending up as a ¡§private space for reverie¡¨, and as a special place where people go to be alone and create. Dunn (1999) discusses the ¡§peaceful essence¡¨ of potting places. Hamilton (1995) eulogises:
¡§¡Kgarden sheds have to do with a great deal more than gardening. In fact, they don't really have much to do with gardening at all. What they have to do with is the raising to the status of a religion the fine art of doing nothing. The shed was the common man's Temple of Idleness, in which he could cast out the devils of Enthusiasm and worship at the feet of the gods Whittle, Footle, Doodle and Fiddle¡K¡K

We writers appreciate garden sheds, as our craft teaches us to snatch periods of advanced pointlessness. Faced with a deadline and not a single idea, writers can become world-class footlers. Cleaning the typewriter keys is much favoured; my own speciality, in the days of manual writing machines, was to polish the chrome-plated carriage return lever on my portable. And always, in the end, after a good footle or doodle, the idea would come.¡¨

It is perhaps not wholly surprising that there is a UK usenet discussion group on the subject of garden sheds: http://www.man.ac.uk/~zlsiida/sheds/shedhvn.txt

3.3 The literal creative significance of the shed - writers and inventors at work
The direct metaphor from James Murray and the Oxford English Dictionary has already been mentioned. His use of the term Scriptorium was itself a metaphorical connection to the script copying room in the medieval monastery, an early powerhouse of knowledge, so we were also able to benefit from that connection. In addition, we utilised images of St Jerome, a popular subject of Renaissance painters (Thornton, 1997). These typically showed Jerome, the translator of the Bible into Latin and patron saint of librarians, in effect sitting at a workstation. In the most sophisticated of these images, Antonello imagines a cubicle that could easily grace the modern open plan office of a knowledge worker.

Moving to the modern era, we have already mentioned Dylan Thomas and Hemingway. Mahler wrote in shed with a view over water, as did Grieg in Norway. George Bernard Shaw wrote in a shed, which he put onto a moveable base so he could rotate the shed to capture the sunlight. Barbara Hepworth used to retire to her shed in between bouts of work, to rest. Two excellent French originated publications both have excellent sections on the spaces used by writers in their creative phase (Centre National des Arts Plastiques, 1984; Pelegrin-Genel, Elisabeth, 1996). There is little doubt that this literal identification of the shed as a place for knowledge work that was both famous, and very high quality, substantially aided the subsequent more metaphorical linkage of the shed with knowledge creation, with a particularly creative emphasis ¡V knowledge creation which creates artefacts of artistic value.

Sheds are also readily associated with another form of creativity, namely as a location for inventors (Hopkins, 1999). Many of these would be creating physical products, but in 2000 one of the well-publicised ecommerce IPO¡¦s, Actinec, heavily promoted its initiation in a garden shed.

3.4 Classification system
It was decided to develop the pigeonholes using these dimensions as one axis, and the various types of contribution as the other axis (see Figure 3). Into each pigeonhole were placed small index-type cards with, as in the case of the James Murray Scriptorium, initial contributions by the editor. The plan was for delegates to add further index cards but this was not done to a very great extent.

At Natwest Markets, Victoria Ward had developed a directory of expertise, and copies of this were physically available for consultation in the scriptorium. The home-made seed packets were seen as a metaphor for storing information about an individual that could then ¡¥grow¡¦ as a result of others reading it. It mirrored the real-life directory of expertise.

WHITE
Definitions
References BLUE
Ideas
Quotes PINK
Uses GREEN
Stories
Questions YELLOW
Conscious
Amateurs
Mapping
Experiments
Models
Collections
& Libraries
Language
& Image
Stories
Membership
Space

The level of contribution on both inside and outside of the packets was really very revealing. Here are some examples (fictitious names used here, but real names used in actual event):
Name Jane Doe Name John Doe
Role Knowledge Manager Role Librarian/Library Technologist
Expertise Areas Information Architecture, Indexer, Violinist Expertise Areas Classification, design of information systems (in a non-silicon environment), serendipity, synchronicity, creative writing, actor, copyrighter
Symbol Stories conveyed in music
Samoan house ¡V no walls, only structure Symbol Inactive material waiting for ignition

3.5 Enclosure and density
In constructing the shed and its contents we were also mindful of the notions proposed by Stuart Kaufmann (1995) about the importance of enclosure or density for Complex Adaptive Systems. In order for a system to develop self-organising characteristics, energy must flow into and from the system. Kaufmann makes some points about this energy which we drew on in our design, both of the shed and of its contents, down to such details as the templates. Firstly, enclosure will increase the chance of self-organisation. So too will, for example, the confining of reactions to surfaces, or an increase in density. Rather than letting reactions occur in large volumes, a move to 2D from 3D, or to a more concentrated space both increase the chance of things bumping into each other, and a series of actions and reactions unfolding from this catalyst.

3.6 Logistics and planning
The logistics of procuring, testing, moving, setting up and storing the scriptorium is worthy of a separate technical note, and at times seemed to be on the epic scale of Hannibal¡¦s crossing the Alps, so great appeared to be the obstacles and difficulties, all overcome by project manager Colin Michell. In addition to her role in conceiving of the scriptorium, the planning team also benefited from Angie Dove¡¦s professional expertise in the design of exhibitions and displays.

4 CONCLUSIONS
4.1 Reflections and Learnings
The format of an art exhibition, with the garden shed as the central exhibit, led to a quite exceptional level of response and stimulation, with particular stimulation achieved by the Shed exhibit. Other exhibits, even those planned to be ¡¥interactive¡¦, however, attracted rather less interest.

We have considered whether the shed could be used on a permanent basis. There is an Amsterdam advertising agency that has a garden shed (but minus roof) as a special type of space within its rather unusual offices in an old church, alongside a children¡¦s wooden fort and a California style lifeguard hut. There has also been recent publicity in the UK to a group of art students who have put garden sheds as bedrooms inside a former factory space.

The original driving force behind the exhibition concept was converting the intangible into tangible form. Although this objective was achieved, three further types of outcome were also achieved, above all through the garden shed exhibit. These were symbolism, unfreezing and physical artefact. More generally, the positive experiences of this exercise suggest that there is scope for further experimentation with novel methods of training, development and management awareness, particularly in the method used here of the ¡¥art exhibition¡¦. The garden shed exhibit worked extraordinarily well; some of the other exhibits did not, and much remains to be learned from our experiences on how to curate and evolve the art exhibition approach to management development.

Several things were learnt from this experiment:

(a) Considerably less attention was paid to exhibits that were simply displayed on noticeboards, than the exhibits which had ¡¥helpers¡¦ ¡V shed, databases, collectors and databases.
(b) The ¡§interactive¡¨ exhibits, where people were encouraged to add ideas and comments were barely used (except the shed). This was partly due to their location.
(c) Visitors gravitated to the refreshments rather faster than expected.
(d) The garden shed was an exceptional success. This ordinary 8 x 6 Homebase shed, adapted only to make it easier to assemble and reassemble, served as an incredibly powerful metaphor for the organic nature of knowledge management. Apart from the obvious role of the shed in artistic creativity - George Bernard Shaw, Hemingway and Mahler all wrote in sheds or huts - the organic growing metaphor really connected with attendees. Inside the hut were a matrix of pigeon holes relating to a methodology for describing and classifying knowledge. Seed packets were provided as a rudimentary example of an expertise directory, with attendees writing on both the outside of the packet, and also creating artefacts (if only jottings on an index card) to go inside the seed packet. Remarkably intimate comments were made by attendees who were fully aware of the fact their comments would be publicly available. It is believed that the low roof and general ambience of the shed were themselves very intimate and delegates reported how comfortable they felt there.

The shed was as low tech as you could possibly get, in a professional area that is closely concerned with leading edge exploitation of IT. Yet it resonated with visitors in a way a hard 2D computer interface probably never could have done.

Clearly it was not a trivial exercise to procure and set up the shed, but it does illustrate the power of some kinds of designed spaces to support and enhance the learning process.

Interestingly, the Design Council itself is a classic 60¡¦s modernist building, fading at the edges. But in its public staircases and corridors every 2-3 metres there are quotes from famous people about creativity and design. These simply are ready made plastic characters stuck onto the smooth painted plaster, but they are themselves a form of exhibit and enable those walking by to stop and reflect on their significance.

With the benefit of experience, it can be seen that the shed and its contents proved to be a powerful and tangible metaphor for key aspects of knowledge management. It created a self-evident climate of warmth and intimacy, quite different from exhibits in open space just a metre or two away. The sharing of experiences via the ¡§seed packets¡¨ in particular was very candid. So the shed worked at three levels:

1. In literally making the intangible into a tangible form, e.g. with the physical analogue classification system
2. At a metaphorical level, containing a wealth of symbolism relating to key processes in knowledge management. It reinforced the idea of knowledge as ¡¥organic¡¦ rather than ¡¥mechanistic¡¦.
3. Surprise, a transitional object. Its sheer unexpectedness acted as a stimulus to ideas about knowledge management and essentially as a source of creativity. It appeared to act as an ¡§unfreezing¡¨ device and there is little doubt that the shed played the role of a transitional object or transitional state(Winnicot, 1971, Kaufmann 1995),.

As we continued to study the shed, we collected more and more examples of the use of the shed as a space for creative work. In identifying these, the shed was not a metaphor, but an actual tangible physical artefact that directly contributes to the creativity phase of knowledge management, as was also the case with Murray¡¦s shed! Many delegates also used the shed ambience to reflect back on their own experiences of the physical offices in which they are expected to create knowledge.

4.3 Application of learnings to other knowledge spaces for work?
How might these learning apply more generally to the design of knowledge spaces for work, regardless of whether they are virtual or physical? And, more importantly, how might the learning be applied to different categories of business challenge, such as the challenge of invention, design and redesign in the engineering sector for example?

The shed, generalised, has the following characteristics:
„h literally makes tangible
„h invites participation, prompts serendipitous encounter and social connection
„h plays, provokes curiosity
„h promotes ¡¥organic¡¦ not ¡¥mechanistic¡¦ approaches
„h unfreezes, interrupts
„h balance of structured and unstructured , structure and surprise (Kaufmann 1995)
„h historical associations of shed with creative arts and reflection
„h association of ¡¥scriptorium¡¦ with collecting and ordering
„h assocation of OED with voluntary contributions by experts
„h permits ¡§unauthorised¡¨ behaviour

It also has importance as a mnemonic (Yates 1966), or story space. It works as a space to trap and track otherwise ephemeral moments, and build them into a collective and usable organisational memory constituted from personal experience and reflection. Perhaps there is a general principle to be derived about collaboration around a shared artefact: ¡§the generality of any form of knowledge always lies in the power to renegotiate the meaning of the past and the future in constructing the meaning of present circumstances¡¨ (Lave and Wenger, 1991)

It is only a short step from here to comparing these lessons with those we are deriving from research we are currently undertaking into the key patterns that recur in the failure of intranet design. We have identified five general patterns at present.

Pattern 1: starting. Projects are rarely well founded. Thinking in a kind of consultative way about the founding artefact (blueprint, strategy document, plan) actually is a kind of collective document, indeed a collective space of ¡¥negotiated meaning¡¦ constructed from ¡¥participation¡¦ around an ¡¥artifact¡¦ (Wenger 1998).
Pattern 2: the right amount of structure. Little thought is given to the balance of structure and lack of structure, frozen and unfrozen (Kaufmann 1995) and how those two things are coupled together. Encouraging people to find their way around but also to feel they are inclined to want to make a contribution and provide feedback. Kaufmann¡¦s description of Complex Adaptive Systems as ¡¥a grand compromise between structure and surprise¡¦ goes unheeded.
Pattern 3: communicating, invitation and context. People forget to invite people to join. There is a lack of invitation at the beginning. This leads to confusion because there is no overall fabric into which individual contributions may be woven to contribute to a coherent whole, or to reluctance ¡V a lack of willingness to contribute because there is an absence of trust, mutuality or a shared understanding. An invitation implies a voluntary, freely given response which will be valued. Richard Sennett (New Statesman 1998) said that ¡¥the short term time frame of modern institutions limits the ripening of informal trust¡¦. Effective knowledge creation, contribution and transfer will only emerge from networks of trust.
Pattern 4: media substitution. So long as you have a choice to do something easier, you will take that choice if you are under pressure. Inescapable in the development of effective virtual spaces is to keep in mind this is only one section of media and that there are related decisions around other media. What you will stop doing as a consequence of having intranet? What must you give up in order to make the space for new ways of working? In seeking to develop our own intranet spaces as ways to manage extended communities engaged in shared work, an in our intranet research we have start to understand the difficulties of transfer from one medium for collaboration to another. Even our own behaviours as enthusiastic co-authors and collaborators reflect this. Every time life gets difficult, for example in finishing a joint research paper we have tried to negotiate it through intranet in an attempt to create a collective, co-authored asset, but end up thinking ¡¥its easier to use e-mail¡¦ ¡V and immediately reverting back to old behaviour.
Pattern 5: ¡¥new media work us over¡¦ (McLuhan 1966). When thinking about technologies, all sorts of things are a technology. Its not just about the substitution choice (¡¥if I can do it an easier way I will¡¦) but also the new media completely change our ways of working in ways we are often very ignorant about. And so, being aware of how they will touch the way you work is an important consideration point when building intranet spaces. When thinking about technologies, all sorts of things are a technology. Its not just about the substitution choice (¡¥if I can do it an easier way I will¡¦) but also the new media completely change our ways of working in ways we are often very ignorant about. And so, being aware of how different media and workspaces will touch the way you work is an important consideration point when building intranet spaces.
4.5 Conclusion
The original driving force behind the exhibition concept was converting the intangible into tangible form to fulfil the brief from Atha at the ICA, while experimenting with the role of artefacts in situated learning. Two further outcomes were an understanding of symbolism and of the potential for unfreezing and the use of surprise in prompting new connections and insight. More generally, the positive experiences of this exercise suggest that there is scope for further experimentation with novel methods of training, development and management awareness, particularly in the method used here of the ¡¥art exhibition¡¦. Much remains to be learned from our experiences on how to curate and evolve the art exhibition approach to management development, and much too, to be learned about how this approach might be adapted to the design processes for other, complex artefacts, such as engineered products.

What the experiment does illustrate the power of some kinds of designed spaces to support and enhance the learning process. Inverness Research Associates (1996) articulate the idea that formal school education can be complemented by an ¡§invisible¡¨ infrastructure. In the light of our specific experiences here, we do not discount that a similar ¡§invisible¡¨ infrastructure might be envisaged for managerial learning, not least in areas such as knowledge management which are intrinsically intangible.

It is ironic that at the very pinnacle of development of electronic information resources, one of the most valuable additional facilities for the development of knowledge may be actually be a physically-based facility, with ¡§location-and-object specific attributes¡¨.

EPILOGUE

1....Design as a story with defining moments - the Design Council ¡V April 2000
The shed did make it to the Design Council (despite the lack of lift ¡V see Colin¡¦s version of the Shed story). Clive interviewed a colleague in it. Victoria made a presentation which sketched the story of defining moments which had led from Sinai to shed. The point was to illustrate the history and practice of the design process as one of co-operation, collaboration and tiny ¡¥Defining Moments¡¦ which in retrospect created the turning points which can be in retrospect as a kind of story of the design process. (Although see a subsequent essay by Bruno Latour (1991)which warns against the danger of weighting one element of a knowledge chain more than another. He also makes a useful point about how speed and time work during the design or project process: the passage of time over the history of a project/innovation is not a fixed, regular framework in which the observer must tell the tale. It becomes a consequence of alliances. The actors create their respective relationships, transformation and sizes and let the speed of events depend entirely on the movements of alliance and rupture formed by the actors. Einstein calls this the ¡¥mollusc of reference.¡¦)

Christine Atha has the pictures of the white board and these, together with a version of the story which is being published in a Design Council book.
Because of this presentation, Victoria was invited to speak in Dundee in September at an event sponsored by the Lighthouse which a seminal occasion in developing new approaches to creativity and education in Scotland. The scanned notes from this presentation are in the appendices.

2...Life imitating Art ¡V PLOT at the Paper Bag Factory, July/August 2000
¡¥A hermit¡¦s hut. What a subject for an engraving! Indeed real images are engravings, for it is the imagination that engraves them on our memories. They deepen the recollections we have experienced, which they replace, thus becoming imagined recollections.¡¦
Gaston Bachelard, ¡¥The Poetics of Space¡¦ 1964

By odd chance, shortly after the two shed events, an exhibition took place in a warehouse in called PLOT. Here artists had been invited to provide interpretations of a garden shed. These ranged from sheds fully decorated inside as dream bedrooms, to sheds as places to collect and order newspaper cuttings. Odd was the number of ideas presented by the artists which had some resonance with our own experiment. Two extracts from the programme notes:
¡§My response to ¡¥Plot¡¦ is to celebrate the creative energy, enterprise and imagination fostered by spaces such as garden sheds whose guise of functionality leaves space for the individual to flourish in sometimes surprising ways.¡¨
¡§My interest ¡K finds its immediate expression in collaborative practice and in live art concepts that depend largely on the kindness of strangers...¡¨trang
Figure 12. Picture of the PLOT exhibition at The Paper Bag Factory, Deptford

3...An encounter with the Tao Te Ching - Klee&Co ¡V June 2000
Victoria told the shed story at a meeting of Klee&Co hosted by CUBS in June and was given by another speaker the gift of an extract from the Tao Te Ching:
¡§Thirty spokes converge upon a single hub;
It is on the hole in the centre that the use of
the cart hinges.
We make a vessel from a lump of clay;
It is the empty space within the vessel that makes it
useful.
We make doors and windows for a room;
But it is these empty spaces that make the room livable.
Thus, while the tangible has advantages,
It is the intangible that makes it useful. ¡§
Tao Te Ching, Chapter 11

4...Professor Clive Holtham¡¦s annual lecture ¡V CUBS - June 2000
The shed had its second outing to CUBS on 20th June when Clive gave a seminal lecture (covered widely in the press) on ¡¥The Office of the Future ¡V why its most important technology will e the coffee machine.¡¦ Clive covered 4 essential spaces needed in the knowledge economy:
„Y the war room
„Y innovation spaces
„Y third spaces
„Y learning spaces.
A picture of him leaning nonchalantly against the shed doorjamb appeared with the article in the Time Higher, June 30th 2000 with the excruciating caption:
¡§Shedding light: Clive Holtham and the experimental ¡¥scriptorium¡¦ knowledge space.¡¨

6... Taking a stand ¡V KME Brussels - November 2000
And so we decided, when taking a stand at the first Knowledge Management Europe conference managed by ARC, to make another version, an exhibition stand derived from the original concept and reusing some of the original materials. Another theatre designer, Billy, made this for us, polystyrene sandwiches and all, we teamed up with the Libraries Association team, and cut a nice low tech picture ¡V so low tech that we ended up being filmed by some obscure cable channel.
Some of the effects of doing this took us by surprise, and we had to consider subtle processes of etiquette when it became clear that visitors were puzzled. They walked past and treated the invisible fourth wall as a threshold. They could stare curiously over it, but it took courage to walk over that line and engage with something they could not immediately relate to. This, as we discussed at the time, took us forcibly back to the notion of liminality which we had flirted with at E005 (the space event in Spark¡¦s offices) or boundaries between being inside and outside. Another development was for us to capture elements of the speeches being made and immediately transform these into index cards, which could form elements of the scriptorium. In this way, elements of Speh, Birkenrahe, Denning and Prusak talks were immediately recast and catalogued and then displayed on the third wall as a kind of exhibit whose topicality drew attention and slowed down passers-by. Here are some extracts from the visitors¡¦ book, notable for their emotional or sensory quality:
¡§this is very mysterious¡¨ ¡§tres jolie¡¨ ¡§great metaphor¡¨ ¡§back to basics¡¨ ¡§what, no computers?¡¨ ¡§full of possibilities¡¨ ¡§gemutlich¡¨ ¡§an interesting and innovative interpretation¡¨ ¡§bellissimo¡¨ ¡§strange and interesting¡¨ ¡§very interesting - I feel, well, quite different¡¨ ¡§I got curious¡¨ ¡§make them experience a knowledge story¡¨ ¡§refreshing¡¨ ¡§great stand, feels like I am at home¡¨ ¡§could spend hours looking at this¡¨

7...Somewhere in North London ¡V Today
Somewhere in Islington the children¡¦s book editor of the Guardian is using the original shed as a real garden shed. Somewhere in Stoke Newington, the Marketing Director of Hollinger Media has stashed the shed stand, and all the props in his cellar until it gets dusted off and called out to serve some further purpose.

Victoria Ward
Clive Holtham

Appendix One: References

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Bachelard, (1964) ¡§The Poetics of Space¡¨ Beacon Press
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Centre National des Arts Plastiques (1984) ¡§L'Empire de bureau 1900-2000¡¨, Berger-Levrault, Paris
Cobb, Tom (1999) ¡§Applying constructivism: A test for the learner as scientist¡¨ Educational Technology Research & Development, 47 (3), 15-31
Dion, Mark (2000) ¡¥Archaeology¡¦ Black Dog Publishing
Domus Academy (1990) ¡§The Office¡¨ Domus Academy, Milan
Donaldson, Stephanie (1997) ¡§From the Potting Shed : Inspired Projects for and from the Garden¡¨ Lorenz Books
Dunn, Teri (1999) ¡§Potting Places¡¨ Michael Friedman/Fairfax Publishing
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Bloomsbury, London
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Ward, V (1999) ¡¥Can the design of physical space influence collaboration?¡¦ Knowledge Management Review, Issue 10, September/October
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Wenger, E (1998) Communities of Practice, Cambridge University Press
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